MEMCAL 

L1ISMA1ISY 


T  H  E 


SCIOPTICON  MANUAL, 


EXPLAINING 


LANTERN  PROJECTIONS  IN  GENERAL, 


SCIOPTICON  APPARATUS  IN  PARTICULAR. 


INCLUDING 

MAGIC  LANTERN  ATTACHMENTS, 

EXPERIMENTS,  NOVELTIES,  COLORED  AND   PHOTO-TRANSPARENCIES, 
MECHANICAL   MOVEMENTS,   ETC. 


BY 

L.   J.   MARCY,   OPTICIAN, 

No.  1340  CHESTNUT  STREET,   PHILADELPHIA. 


SIXTH    EDI.TI-O-N. 


PHILADELPHIA: 

JAMES  A.  MOORE,  PRINTER,  1222  AND  1224  SANSOM  STREET. 

1877. 


Entered,  according  to  Act  of  Congress,  in  the  year  1877, 

BT  L.  J.  MARCY, 
In  the  Office  of  the  Librarian  of  Congress,  at  Washington,  D.  C. 


PREFACE. 


YISIBLE  illustrations  are  so  highly  esteemed  among 
educationalists  of  the  present  day,  that  the  announce- 
ment that  a  greatly  improved  form  of  Magic  Lantern  has 
made  its  appearance  is  very  favorably  received. 

Between  a  desire  for  such  an  instrument,  and  the  lack 
of  definite  information  concerning  it,  many  very  natu- 
rally manifest  both  their  interest  and  their  caution  by 
searching  letters  of  inquiry.  The  inventor  has  en- 
deavored, in  hasty  epistles,  to  state  all  the  possibilities 
and  impossibilities  of  the  Sciopticon,  and  of  lights,  lenses, 
lantern  slides,  and  tanks;  but  he  finds  it  increasingly 
difficult  to  give  each  correspondent,  individually,  a  full 
philosophical  exposition.  For  such,  therefore  as  desire 
a,  more  detailed  account  than  can  be  given  in  a  hasty 
letter,  or  than  is  contained  in  the  circular,  which  it  is 
always  a  pleasure  to  forward  on  application,  a  Sciopticon 
Manual  has  been  prepared,  to  serve  as  a  guide-book  to 

bli 


iv  PREFACE. 

the  various  interesting  portions  of  the  Magic  Lantern 
Held  in  general,  as  well  as  to  the  Sciopticon  in  particular. 

It  treats  of  the  Optical  Image — without  a  lens,  with 
a  lens,  in  the  camera  obscura,  in  the  eye,  in  the  photo- 
graphic camera,  and  on  the  screen  ;  of  the  peculiarities 
of  lenses,  and  the  corrections  required  hy  lenses;  of  the 
peculiarities  of  the  Sciopticon,  and  its  construction  and 
management;  of  dissolving  views,  phantasmagoria,  and 
the  ghost ;  of  lantern  slides  in  all  their  variety  ;  of  photo- 
graphing slides  by  the  wet-plate  process,  b}^  the  dry-plate 
process,  by  Marcy's  Photographic  Printing  Apparatus, 
by  the  Sciopticon,  and  other  processes;  of  how  to  paint 
slides,  and  of  ho\v  to  perform  chemical  experiment- 
to  which  is  appended  a  catalogue,  arranged  to  assist 
purchasers  in  making  satisfactory  selections. 

Thus  this  Manual  may  take  the  place  of  private  cor- 
respondence to  a  considerable  extent,  allowing  in  let- 
ters more  space  for  business,  and  tor  an  interchange  of 
new  ideas,  with  a  view  of  making  the  Manual  in  subse- 
quent editions  more  interesting,  and  the  Sciopticon  more 
useful. 

It  was  at  first  my  intention  to  give  space  to  the  sub- 
ject of  chemical  lights,  but  reflect  ing  that  in  this  direc- 
tion there  is  no  lack  of  printed  matter,  and  that  the  in- 
terest felt  in  the  Sciopticon  is  owing  mainly  to  its  giving 


PREFACE. 


results  with  little  trouble,  I  have  concluded  to  omit 
1/n>  g«s,  which  would  increase  the  bulk  of  the  Manuul, 
without  a  corresponding  addition  to  its  usefulness. 


PREFACE  TO   FIFTH   EDITION. 

THE  lime  light,  in  an  improved  form,  having  been  in- 
troduced into  the  Sciopticon,  it  has  become  expedient  to 
append  to  the  Sciopticon  Manual,  a  description  of  the 
apparatus  and  directions  for  its  use. 

The  demand  for  Lantern  projections  is  steadily  on  the 
increase.  A  fine  photograph  (arid  what  can  be  finer?) 
projected  upon  a  largo  screen,  before  a  thousand  spec- 
tators,  gives,  it  is  safe  to  say,  ten  thousand  times  the 
satisfaction  that  one  alone  with  his  stereoscope  receives 
from  it.  The  appreciation  is  cumulative.  "The  more 
the  merrier,"  is  the  philosophy  of  it. 

The  Sciopticon  with  its  oil  lamp,  rather  than  with  its 
lime  light,  continues  to  be  the  choice  of  the  many,  be- 
cause its  use  is  convenient  and  inexpensive.  There  are 
purposes  and  occasions  however  for  which  the  lime  light 
is  a  necessity.  The  gas  therefore  has  now  received  its 
full  share  of  attention.  Much  of  the  added  matter  is 
intended  to  assist  those  who  have  a  Sciopticon,  to  pro- 
vide  themselves  with  interesting  objects  for  exhibition, 
without  resort  to  a  large  assortment  of  exoensive  slides. 


VI  P  li  £  F  ACE. 


PREFACE   TO    SIXTH    EDITION. 

MARCY'S  SCIOPTICON  is  now  no  new  thing.  It  has  taken 
its  place  as  a  standard  projecting  Lantern,  and  is  accepted 
as  a  great  advance  in  this  direction.  As  it  becomes  better 
known,  and  less  in  need  of  explanations,  the  Sciopticon 
Manual  might  be  contracted  rather  than  enlarged,  only 
that  something  more  may  be  said  to  advantage  of  its  new 
attachments  and  new  uses.  It  will  ba  seen  that  the  Triple 
Jet,  the  Gas  Sciopticon,  the  Gas  Microscope,  etc.,  have  been 
improved  since  the  illustrations  prepared  for  the  Fifth 
Edition  were  drawn. 

The  Automatic  Cut-off  is  yet  new  to  many,  who  will 
stand  in  need  of  a  fuller  explanation  in  print. 

The  description  and  illustrations  of  the  Franklin  Insti- 
tute Gas  Holders  will  interest  Managers  of  Educational 
Institutions. 

It  is  believed  that  all  who  are  alive  to  the  advantages  of 
photographic  projections  will  find  the  Sciopticon  Manual  a 
valuable  Hand-book. 


CONTENTS    OF    MANUAL. 


Introduction, xi 


CHAPTFR   I. 


The  Camera  Obscura 

The  Inverted  Image, 

Color  and  Shading, 

Motion, 

Size, 

Size  on  the  Retina, 

Size  in  the  Photographic  Camera, 

Magnified  Image, 

Inferences, 

Experimental  Verification, 

Indistinctness, 

Convex  Lens, 

Stops, 

•      CHAPTER   II. 

The     Corrections     required     by 

Lenses, 

The  Form  of  Lenses, 

Pencils  of  Rays 

Spherical  Aberration, 

Distortion, 

Curved  Field, 

Chromatic  Aberration, 

Unequal  illumination, 

Corrections  in  the  Eye, 

The  Landscape  Lens, 

The  Portrait  Objective, 


24 


CHAPTER    III. 

The  Construction  of  the  Sciopti- 

con, 

No  Loss  of  Light  from  using  an 
Objective   of  Low  Power  with 

a  Concentrated  Light, 24 

Advantages  of  Concentrated  Light    25 

The  Condenser, 26 

The   Reflector,  26 

Various  Modes  of  Lantern  Illu- 
mination      27 

The  Size  proper  for  the  Illumin- 
ated Di?c, 28 

Analysis  of  the  Sciopticon 29 

Packing, 32 

Rules  for  Operating  the  Sciopti- 
con       33 

Recapitulation,  36 

The  Screen, 37 

Dissolving  Views 39 

Directions  for  Producing  the  Dis- 
solving Effect, 41 

The  Phantasmagoria, 44 

Ancient  Magicians, 45 


CHAPTER  IV. 


50 


Picture  Slides, 

The  Standard   Size    for  Lantern 

Slides, 51 

The  Sealed  Picture, 52 

Statuary, 53 


(vii) 


Vlll 


CONTENTS   OF   MANUAL. 


The  Slip  Slide 54 

The  Lever  Slide 55 

Revolving  Figures 55 

The  Chromatrope 66 

Eidrot  ope 57 

Moving  Waters 57 

Long  Slides 68 

Dioramic  Painting,  with  Mov- 
ing Figures 58 

The  Ghost 58 

The  Tank 59 

Precautions  about  Slides 60 

CHAPTER  V. 

PHOTOGRAPHY. 

Glass  Positives  for  the  Magic 

Lantern 61 

The  Camera 62 

Solutions 

The  Negative 64 

The  Lens 65 

Dry  Plate  Process 67 

Collodio-Chloiide  Process 71 

Marcy's   Photographic   Print- 
ing Apparatus 72 

Sciopticon  Process 74 

Woodbury  Photo-Relief  Slides.  76 

CHAPTER  VI. 

COLORING  SLIDES. 

Water  Colors,  etc 78 

Easel  Brushes,  etc 79 

Statuary 82 

Silhouettes,  Natural   Objects, 

etc 82 

CHAPTER  VII. 

CHEMICAL  EXPERIMENTS. 

Tank  and  Pipette 84 

Chemical  Reactions 85 

Crystallizations 86 

Miscellaneous  Experiments...  87 

CHAPTER  VIII. 

DESCRIPTIVE  LECTURES. 

Bible  Pictures...                    ....  95 


PA8B 

Sunday-school  Pictures 97 

Extracts 98 

Bible  Lands 103 

Egypt 110 

Views  of  interest  in  all  parts 

of  the  World 119 

Nursery  Tales 1 19 

Composition  Pirturts 121 

8  tat  ua  ry 1 22 

Movable  Slides 123 

Scientific  Slides 123 

CHAPTER  IX. 

THE  SCIOPTICON  AND  ITS  USES. 

Description  of  the  Sciopticon,  125 
Magic  Lantern,  from   1650   to 

1870 126 

Traveling  by  Magic 128 

Sciopticon  for  Sunday-schools,  130 

Science  at  Home 130 

Various  Experiments 132 

CHAPTER  X. 

THE  TEACHER  HIS  OWN  ARTIST. 

A  Process  of   Drawing   and 
Painting    Magic   Lantern 

Slides 135 

List  of  Apparatus  and  Mate- 
rials   135 

A  New  Copying  Camera 139 

Diaphanie 141 

Enamel  Slides 142 

Prepared  Glass 142 

Sample  of  Size  and  Shape 143 

CHAPTER  XI. 

NOVELTIES. 

Chimney  Cap 144 

Sciopticon  Curtain 144 

Tinters 145 

New  Slide  Stop 145 

A  New  Departure 14G 

Eidrotrope HO 

Wheel  of  Life 147 

Danciug  Skeleton 147 

Dance  of  the  Witches !•<« 

Effect  Slides 149 


CONTENTS   OF   CATALOGUE. 


IX 


CHAPTER  XI..— THE  LIME  LIGHT. 


PACK 

Flame  Illuminnti  m lal 

Vaiietit-s  in  Lime  Light 151 

No.  1,  Alcohol  Burner 152 

No.  2,  House  Gas  Concentric 

Burusr 153 

Dr unimond  Light 154 

No.  3,  Mixed  Jet , 155 

Dangers  Peculiar  to  Mixed  Jet,  155 
Annoyances  Peculiar  to   the 

Mixed  Jet 156 

Marcy's  Triple  Jet 158 

Oil  Sciopticon  with  Triple  Jet.  160 

Lime-light  Sciopticon 161 

Triple  Jet  Adjustments... 161 

Lime-light  Adjustments 163 

Ratio  of  Spaces 164 

Changing  the  Scene 166 

The  Automatic  Cut-off. 167 

Patent  Slide  Carrier 169 

Both  Seiopticons  with  an  in- 
terchangeable Set  of  Lenses..  170 


Dissolving  Cock 171 

Preparation  of  Oxygen  Gas ....  172 
Preparation  of  Hydrogen  Gas.  174 

Pressure  Boards 177 

Self-Condensing  Cylinders 178 

MultuminParvo 181 

An  Economical  Form  of  Gas 
Holder  for  the  Lime  Light...  182 

Other  Gas  Contrivances 186 

Lantern  Attachments 188 

Microscope  Experiments 189 

Holman's  Siphon  Slide 190 

Gas  Microscope,  by  Henry  Mor- 
ton, PH.  D 191 

Sciopticon  Microscope  Attach- 
ment   194 

The  Megascope 195 

Sciopticon  Kaleidoscope 197 

Reflecting  Polariscope 199 

Refracting  Polariscope 200 


CONTENTS  OF  SCIOPTICON  CATALOGUE. 


INTRODUCTION. 


Notice,  Sixth  Edition 

Where  to  find  Explanations, 
Peculiar  Advantages  of  the 

Oil  Sciopticon 

Peculiar  Advantages  of  the 

Gas  Sciopticon 

How  to  Secure  the  Fullest 

Ad  vantages  of  Both 

Late  Improvements 

Lantern  Projections  as  an 

Educational  Appliance. . . 


PAGE 

ii 
iii 


iv 


xiii 
xiv 


PAGB 

Comparison  of  the  Different 

Sources  of  Illumination.,  xviii 
The  Slide  Question- 
Plain  or  Colored  ? xxi 

Nature  or  Art? xxiii 

Strong  or  Faint  ? xxiii 

The  Bad  and  the  Good xxiv 

What's  in  a  Name? xxiv 

Descriptive  Lectures xxv 

Sciopticon   Catalogue   A  r  - 
rangement xxvi 


PRICE  LIST  OF  SCIOPTICON  APPARATUS. 


PACK 
..     1 


Oil  Sciopticon,  etc 

Gas  Sciopticon 2 

Gas  Bags,  Generators,  etc 2 

Chemicals,  Chemical  Apparatus,  3 


Separate  Parts  of  Apparatus 3 

Lantern  Attachmeats 4 

Combinations  and  Estimates...  5 
Dissolving  Views 6 


CONTENTS    OF    CATALOGUE. 


PRICE  LIST  OF  COLORED  MAGIC  LANTERN  SLIDES. 


l.-Choice  Selected  Slides 

II.— Sacred  History 9 

III.— Holy  Land  and  Egypt 9 

IV.— Ancient  Greece  and  Rome,  11 
V.— Complete   Illustrations  t  o 

the  Text  of  the  Holy  Bible....  12 
VI.— Views  of  Interest  in  Dif- 
ferent Parts  of  the  World 17 

VII.— American  History 20 

VIII.— Franco  German  War...  21 

IX.— Views  in  Sets,  Conveying 

Moral  Lessons 22 

1.  The  Pilgrim's  Progress 22 

2.  Christiana  and  her  Child- 

ren  22 

3.  The  Drunkard's  Progress..  22 

4.  The  Bottle (Cruikshank)....  23 

5.  The  Bottle  (Comic) 23 

6.  Stomach  of  the  Drunkard  in 
Different  Stages  of  Disease..  23 

7.  The  Gambler's  Career 23 

8.  The  Ten  Corrmandments..  23 
{).  The  Lord's  Prayer 24 

10.  Four  Scenes  from  the  Life 

of  a  Country  Boy 24 

11.  Shakspeare's  Seven  Ages...  24 

12.  Masonic,  and  other  Lodge 

Pictures 21 

13.  TamO'Shanter 24 

14.  New  Tale  of  a  Tub 24 

15.  Renard,  the  Sly  Fox 25 

16.  Fables  of  Lafontaine 25 

17.  The  dusaders 25 

18.  The  Ill-Fated  Ship 25 

19.  Schiller's  Song  of  the  Bell..  25 

20.  Rip  Van  Winkle 26 

X.— Miscellaneous  Pictures 26 

XI.— Dissolving  Views 28 

XII.— Chromatropes,  etc 30 


CLASS  PAGE 

XIII —Original  Leaf  Designs..  32 
XI V.-Statuary  and  Bas  Reliefs,  32 
XV.— Select  Painted  ComijSlip 

Slides 33 

XVI.— Paintings  with  Levers, 

Comic 34 

XVII.— Dioramic  Paintings, 

with  Moving  Figures 35 

XVIII.— Paintings  Illustrating 

Nursery  Tales 35 

XIX.— Fine  Engravings 36 


SCIENTIFIC  DEPARTMENT 

XX.— Mammalia 37 

XXI.— Birds 38 

XXII.— Reptiles.and  Fishes....  38 

XXIII.— Insects 39 

XXIV.— Araclmida,  Crustacea..  39 

XXV.— Botany 46 

XXVI.— Flowers  and  Plants...  41 
XXVII.-Physical  Geography.  42 

XXVIII.— Astronomy 42 

XXIX.— Geology 44 

XXX.— Natural  Phenomenon..  45 
XXXI.— Anatomy  and  Physi- 
ology  45 

XXXII.— Microscopic    A  n  a  t- 

omy 45 

XXXIII.— Optics 46 

XXXIV.— The  Microscope  and 

its  Revelations 46 

XXXV.— Crystallography 47 

XXXVI.— Spectrum  Analysis..  47 
XXXVII.— Geological    Land- 

scapes,  etc 48 

XXXVIII.— Society  Emblems.  48 
XXXIX.— Dissolving  E  ff  e  c  ts, 
etc 50 


PRICE  LIST  OF  PLAIN  GLASS  SLIDES. 


CLASS  PAGE  |  C 

XL.— American  Views 55   ^ 


XLL— Foreign  Views 

XLII. -Centennial  Slides 


XLIII.—  Scientific  Sciopticon 
Slides 


INTRODUCTION. 


THE  SCIOPTICON  (pronounced  Si-op-ti-con),  is  by  far 
the  most  convenient  and  easily  managed  of  any  form  of 
Magic  Lantern.  Its  ridge  of  wide,  intensified  double 
flame,  lying  lengthwise  in  the  axis  of  the  condensing 
lenses,  gives  it  much  greater  efficiency  than  any  other 
lamp-illuminated  lantern. 

All  who  have  become  acquainted  with  this  new  in- 
strument, see  in  it  the  accomplishment  of  what  has  long 
been  greatly  desired  by  those  who  appreciate  the  value 
of  visible  illustrations  as  a  means  of  imparting  instruc- 
tion and  of  affording  rational  amusement. 

Confessedly,  the  medieval  magicians  with  their  lan- 
terne  magique  effected  little  good  by  their  incantations 
and  ghostly  spectres.  But  modern  educators  have 
higher  aims  and  better  means  at  hand.  Their  lenses 
are  greatly  improved  in  form  and  quality.  The  pho- 
tographer secures  images  of  all  that  is  interesting  or 

(xi) 


Xll  INTRODUCTION. 

beautiful  in  nature  and  art.  Literature  and  the  sciences 
teem  with  pictorial  illustrations,  from  which  choice  se- 
lections can  bo  easily  copied  for  lantern  slides.  And 
now  the  Sciopticon,  with  its  own  peculiar  light  for  all 
ordinary  occasions,  and  with  the  oxy-hydrogen  light  for 
occasions  extraordinary,  comes  in  to  show  up  what  is 
thus  made  ready. 

In  form  and  construction  the  Sciopticon  is  very  unlike 
that  relic  of  the  middle  ages,  the  old  magic  lantern. 
Those  who  are  interested  in  the  philosophy  involved  in 
it,  in  the  peculiarities  pertaining  to  it,  in  the  practical 
management  of  it,  in  making  and  selecting  slides  for  it, 
in  performing  scientific  experiments  with  it,  and  in  pro- 
moting the  interest  of  education  by  it — will  do  well  to 
inquire  within. 


SCIOPTICON  MANUAL. 


CHAPTEK  I. 


THE    CAMERA   OBSCVBA. 

A  picture  formed  by  rays  of  light  from  the  several 
parts  of  an  object  as  seen  at  A  (Fig.  1),  is  called  an 
image ;  and  the  cham- 
ber in  which  it  is 
formed,  and  from 
which  all  light  is  ex- 
cluded, except  what 
enters  a  small  hole 
as  at  S,  is  called  a 
camera  obscura. 

This  dark  chamber 
claims  attention  here 
because  its  properties,  which  are  common  to  the  eye, 
the  Sciopticon,  and  all  forms  of  the  camera,  are  seen  on 
a  broad  scale,  and  may  be  readily  verified  by  inexpensive 
experiments.  To  avoid  confusion  the  pencils  of  light 
are  represented  in  Fig.  1  without  marginal  rays  need- 
ing to  be  focused  by  a  convex  lens.  Explaining  the  fol- 
lowing properties  in  connection  with  a  diagram  without 

2 


1. 


10  SCIOPTICON     MANUAL. 

a  lens,  may  help  to  correct  the  common  impression  that 
these  properties  and  a  convex  lens  arc  inseparable. 

THE    INVERTED    IMAGE. 

Of  the  rays  of  light  proceeding  in  all  directions  from 
every  point  in  the  object  £,  as  from  all  illuminated 
objects,  just  an  assortment,  that  is  to  say  a  pencil  from 
each  point  will  enter  the  hole  at  S,  just  in  lino  to  fall  in 
reverse  order  upon  the  screen  J.,  forming  an  inverted 
image. 

The  picture  results  from  admitting  just  an  assortment 
and  excluding  all  the  rest. 

COLOR    AND    SHADING. 

Light  from  each  of  the  several  parts  of  the  object  B 
illuminates  with  its  peculiar  color  and  relative  intensity 
each  corresponding  part  of  the  imago,  so  that  it  is  seen 
in  natural  light  and  shade,  and  in  natural  colors.  The 
photographer  can  fix  the  relative  shading,  but  ho  cannot, 
as  yet,  fix  the  colors. 

MOTION. 

If,  for  example,  the  bird  moves  to  a  higher  porch,  the 
pencils  of  light  will  fall  to  a  lower  place  on  the  screen, 
and  so  any  movement  of  the  object  which  alters  the 
direction  of  the  pencils  of  light,  will  give  a  reverse 
movement  to  the  image. 

SIZE. 

By  inspecting  the  angle  of  extreme  rays  it  will  bo 
seen  that  the  imago  in  this  case  is  smaller  than  the  ob- 
ject, because  it  is  nearer  the  aperture;  so  in  all  cases, 
the  relative  size  of  the  image  depends  on  its  relative 
distance  from  the  aperture. 


SCIOPTICONMANUAL.  11 

SIZE    ON    THE    RETINA. 

A  A  (Fig.  2)  represent*  the  visible  portion  of  the 
sclerotica  of  the  human  eye,  which  is  a  camera  obscura 
in  perfection.  1  I  represents 
the  iris  (or  window  shutter), 
in  the  middle  of  which  is  the 
pupil  (or  aperture).  As  the 
retina  is  only  about  half  an 
inch  behind  the  optical  centre, 
it  follows  that  the  images  of 
distant  objects  upon  it  must  be  xfy-  9. 

very  minute. 

For  example,  the  figure  of  a  man  6  feet  high,  seen  at 
a  distance  of  40  feet,  produces  an  image  upon  the  retina 
the  height  of  which  is  about  y^th  part  of  an  inch.  The 
face  of  such  an  image  is  included  in  a  circle  whose 
diameter  is  about  y^th  of  the  height,  and  therefore 
occupies  on  the  retina  a  circle  whose  diameter  is  about 
the  -j-j^th  part  of  an  inch ;  nevertheless  within  this 
circle,  the  eyes,  nose,  and  lineaments  are  distinctly  seen. 
The  diameter  of  the  eye  is  about  T^th  of  that  of  the  face, 
and  therefore,  though  distinctly  seen,  does  not  occupy 
upon  the  retina  a  space  exceeding  ^(j^iuirD^^  °f  a 
square  inch.  How  infinitely  delicate  must  be  the 
structure  of  the  retina  or  canvas  on  which  this  exquisite 
miniature  is  delineated  to  receive  and  transmit  details 
so  minute  with  such  marvellous  precision  ! 

SIZE  IN   THE:  PHOTOGRAPHIC  CAMERA. 

A  man  G  feet  high,  standing  for  his  picture  10  feet 
from  a  camera  tube  whose  lenses  require  the  screen  of 
ground-glass  adjusted  to  5  inches,  gives  a  3  inch  picture. 
For  we  have  (in  inches) 

120  :  5  :  :  72  :  x  hence  x  =  *       =  3. 


12  SCIOPTICON   MANUAL. 

MAONIFIEI*     IMAGE. 

This  rule  works  both  ways ;  for  suppose  a  screen  to 
bo  suspended  in  place  of  the  man,  the  space  being  dark- 
ened, and  suppose  the  three-inch  inverted  image  to  bo 
"fixed"  and  highly  illuminated,  then  a  secondary  imago 
will  be  projected  upon  the  screen  ten  feet  from  the  lens, 
corresponding  to  the  original  object  in  size  and  position. 

INFERENCE    1. 

A  good  portrait  objective  for  the  camera  is  also 
suitable  for  a  lantern  objective ;  for  the  lines  of  light  and 
the  angles  are  in  both  cases  the  same. 

INFERENCE    2. 

The  light,  if  reflected  from  the  three-inch  picture, 
radiates  so  as  to  cover  100  times  as  much  surface  on  the 
magnified  image.  How,  as  a  very  small  fraction  of  this 
reflected  light  is  re-reflected  to  the  eye  of  the  observer,  it 
seems  a  hopeless  undertaking,  to  make  the  opaque  lan- 
tern practically  useful  in  showing  the  images  of  small 
paper  photographs,  on  a  large  scale,  with  any  ordinary 
flames,  however  well  arranged. 

INFERENCE    8. 

With  an  intense  light  at  a  point  behind  the  three-inch 
transparency,  converged  by  a  condenser,  so  as  to  enter 
the  objective  through  all  points  of  the  picture,  the  mag- 
nified image  is  illuminated  with  incident  rays  concentra- 
ted, and  its  exhibition  becomes  a  success. 

INFERENCE    4. 

Additional  light  outside  this  point  (as  some  recom- 
mend), would  not  fall  in  line  with  the  objective  so  as  to 
improve  the  illumination;  while  the  additional  heat  and 
diffused  light  would  be  very  objectionable. 


SCIOPTICON   MANUAL.  13 

EXPERIMENTAL    VERIFICATION. 

These  properties  of  the  camera  obscura,  thus  far  con- 
sidered, may  receive  more  lively  illustrations  by  actually 
darkening  a  room  and  admitting  light  through,  say  an 
inch  hole.  A  room  with  but  one  window,  and  that 
looking  from  the  sun,  and  towards  objects  illuminated 
by  sunlight,  is  to  be  preferred.  A  lens,  if  one  is  used, 
of  long  focal  distance  (nearly  flat)  gives  more  room  for 
spectators  before  the  screen.  The  images,  if  the  lens 
has  short  focus,  may  be  better  seen  on  the  back  of  a 
semi-transparent  screen  by  transmitted  light,  as  they 
are  seen  on  the  ground-glass  in  a  photographic  camera. 
These  moving  pictures  of  busy  life  and  wavy  trees,  of 
curling  smoke  and  floating  clouds,  are  peculiarly 
pleasing  and  beautiful,  as  well  as  suggestive  of  im- 
portant principles  in  optics. 

INDISTINCTNESS. 

Fig.  1  fails  of  showing  the  divergence  of  each  pencil 
of  light  to  the  size  of  the  aperture  as  seen  at  c  (Fig.  3) ; 


Fig.  8. 

a  property  which  renders  the  image  indistinct,  from  the 
consequent  overlapping  of  the  blunt  ends,  so  to  speak, 
of  innumerable  pencils. 

CONVEX  EENS. 

In  accordance  with  the  law  of  refraction,  rays  as 
from  d  (Fig.  4)  are  bent  towards  a  perpendicular  in 
entering  the  convex  lens  /,  and  from  a  perpendicular  in 


14  SCIOPTICON    MANUAL. 

emerging  from  it.  As  the  result  of  these  refractions 
they  meet  at  /.  The  converging  power  of  lenses,  of 
uniform  substance  and  density,  is  in  proportion  to  their 


Fig.  4. 

degree  of  convexity.     For  a  lens  to  sharpen  the  image, 
the  screen  must  be  adjusted  to  the  focal  distance. 

STOPS. 

To  get  on  the  same  plate  something  like  distinct 
images  of  objects  at  various  distances,  a  "  stop  "  is  used 
by  the  photographer,  which,  though  it  necessitates  long 
exposure,  secures  "  depth  of  focus."  This  expedient  of 
having  a  small  aperture  is  also  resorted  to  for  lessening 
the  defects  or  aberrations  of  lenses,  just  as  the  aperture 
b  (Fig.  3)  is  made  small  to  lessen  the  greater  defect  of 
having  no  lens. 

Stops  are  not  used  in  the  Sciopticon  objective,  because 
all  portions  of  the  picture-slide  are  in  the  same  plane, 
and  because  sharpness  produced  by  stops  is  always  at 
the  expense  of  light. 


CHAPTEE  II. 

THE  CORRECTIONS  REQUIRED  BT  I.EXSES. 

The  corrections  required  by  lenses  (as  well  as  every- 
thing photographic),  is  well  set  forth  in  Dr.  Yogel's 
Handbook  of  Photography.  The  use  of  such  diagrams, 
as  are  here  appropriated,  is  kindly  allowed  by  the  Ameri- 


BCIOPTICON     MANUAL. 


15 


can  publishers,  Benerman  &  Wilson,  Of  course  one  may 
successfully  operate  the  Sciopticon,  or  even  excel  in 
photography,  without  a  critical  knowledge  of  lenses; 
but  a  very  short,  connected  showing  of  their  properties, 
with  diagrams,  will  doubtless  prove  acceptable  to  many 
who  use  the  Sciopticon,  or  who  are  interested  in  pho- 
tography. 

THE    FORM    OF    LENSES. 

The  convex,  or  converging  lenses.  1,  2,  and  3  (Fig.  5), 
called  biconvex,  plano-convex,  and  meniscus,  are  thicker 


Fig.  5. 

in  the  centre  than  on  the  margin.  The  concave,  or  dis- 
persing lenses,  4, 5,  and  6,  called  biconcave,  plano-concave, 
and  concavo-convex,  are  thinner  in  the  centre  than  on 
the  margin.  A  line  through  the  centre  of  these  lenses, 
from  side  to  side,  would  show  the  axis  of  each  lens. 


PENCILS  OF  RATS  AND  THEIR  ILLUSTRATIONS. 

A  pencil  of  rays  considered  in  reference  to  its  direction 
and  the  points  in  the  image  which  it  illuminates,  may 
be  represented  by  a  simple  straight  line,  as  in  Fig.  1  ; 
but  in  most  cases,  when  the  action  of  lenses  on  its  rays  is 
considered,  it  must  be  shown  as  a  bundle  of  rays,  as  in 
Fig.  4.  The  pencil  in  Fig.  6  differs  from  df  in  Fig.  4,  in 
having  middle  rays  represented  as  well  as  marginal,  and 


16 


SCIOPTICON     MANUAL. 


in  having  them  proceed  from  a  point  too  distant  to  be 
shown.  The  rays  of  a  pencil  from  a  point  100  times 
further  from  the  lens  than  is  the  image,  are  about  paral- 
lel, and  their  focus  is  called  the  focus  of  parallel  rays,  or 
principal  focus.  A  real  pencil  is  composed  of  i nnumerable 
rays,  and  such  pencils  from  innumerable  points  in  the 
object  meet  and  cross  at  the  lens  on  their  way  to  cor- 
responding points  in  the  image,  and  wonderful  to  tell, 
no  one  is  switched  from  the  track  for  another,  and  there 
are  no  collisions.  An  explanation  of  one  answers  for 
countless  millions. 

SPHERICAL    ABERRATION. 

It  is  seen  (Fig.  6)  that  the  marginal  rays  d  d  must  be 
more  refracted,  or  bent,  than  the  more  central  rays  /  /, 


Fig.  6. 

in  order  to  meet  the  axial  rays  at  /±,  and  so  it  is  seen 
that  the  margin  of  the  lens  G  D  has  a  greater  refracting 
angle  than  the  more  central  portions.  But  the  trouble 
is,  the  refracting  at  the  margin  is  overdone,  so  that  the 
rays  d  d  meet  the  axial  ray  at /8  instead  of  at/r  Hence 
if  a  ground-glass  has  been  placed  at/t,  the  marginal  rays 
which  have  intersected  the  axis  at  /8  will  form  a  circle 
of  dispersion  about  ft.  The  diameter  of  this  circle  is 
called  the  lateral  aberration,  and  the  distance  between 
/8  and/t  is  called  the  longitudinal  aberration.  As  a  con- 


SCIOPTICON     MANUAL. 


17 


sequence  of  this  want  of  coincidence  between  the  foci 
of  the  central  and  marginal  rays  the  picture  on  the  screen, 
or  ground-glass,  will  appear  blurred  and  ill  defined. 

We  can  conceive  of  a  lens  with  a  gradually  lessening 
degree  of  convexity  towards  the  margin,  causing  the 
foci  to  coincide,  but  lenses  cannot  well  be  ground  in  this 
form.  The  crystalline  lens  in  the  eye  is  supposed  to 
cause  the  foci  to  coincide  by  an  increase  of  density 
towards  its  centre,  but  such  an  arrangement  of  matter 
would  be  impracticable  in  art.  Much  is  gained  by  re- 
versing the  lens,  for  spherical  aberration  is  four  times  as 
great  when  the  parallel  rays  enter  its  plane  surface,  as 
when  they  enter  its  convex  surface. 

Much  is  gained  by  a  combination  of  lenses  so  that  the 
refracting  angle  may  be  less  in  each.  Were  the  mar- 
ginal rays  d  d  cut  off  by  a  stop,  the  aberration  would  be 
less,  as  we  can  see  by  tracing  them  in  the  diagram,  but 
the  illumination  would  also  be  less  by  so  much. 

DISTORTION. 

When  we  focus  with  a  single  lens  with  a  front  stop 


C 


Fig.  7. 


sharply  on  a  square,  A  (Fig.  7)  the  resulting  picture  will 
not  appear  square,  but  barrel-shaped,  as  at  B.    When  we 


18  SCIOPTICON   MANUAL. 

substitute  a  lens  with  the  stop  in  the  rear,  the  curves 
will  be  reversed,  as  at  C.  This  property  is  based  on  the 
fact  that  the  marginal  rays  of  the  field  of  view  strike 
the  lens  under  a  larger  angle  than  the  central  rays,  and 
consequently  suffer  a  greater  refraction. 

Of  the  simple  form  Of  lenses,  the  meniscus,  with  its 
concave  side  to  the  object,  shows  it  the  least.  But  it  is 
best  overcome  by  a  combination  of  lenses  with  central 
stops. 

CURVED   FIELD. 

This  error  is  not  caused  by  spherical  aberration,  for 
it  occurs  with  all  perfectly  aplanatic  lenses,  but  by  the 
curve  of  the  image,  as  is  shown  by  the  arrow,  Fig.  8. 


Fig.  8. 

"When  the  ground-glass  is  placed  at  a  a,  only  the  central 
part  will  appear  sharp ;  when  at  b  5,  only  the  points  of 
the  arrow  will  appear  well  defined.  This  error  is  avoided 
by  combination  of  lenses  with  suitable  curves,  and  by 
stops. 


SCIOPTICON    MANUAL. 


19 


CHROMATIC  ABERRATION,  OR  DISPERSION  OF  COLOR. 

White  light  is  separated  by  a  prism  into  the  seven 
primary  colors ;  violet,  indigo,  blue,  green,  yellow,  orange, 
red. 

As  a  lens  is  analogous  to  a  system  of  prisms,  and  as 
violet  is  more  refrangible  than  red,  the  violet  rays  v  v 
(Fig.  9)  will  intersect  the  axis  closer  to  the  lens  than 
the  red  rays  r  r.  This  error  is  corrected  by  combining 
a  concave  lens  of  flint-glass  with  a  convex  lens  of  crown- 
glass,  so  as  to  neutralize  their  contrary  dispersions. 

The  concave  flint-glass  lens  /  (Fig.  12),  which  has 
great  dispersive  power  in  proportion  to  its  curves, 
diverges  the  violet  more  than  the  red,  while  the  convex 
crown-glass  lens  converges  the  violet  more  than  the 
red,  so  we  have  in  both  combined  an  achromatic  convex 
lens.  As  the  chemical  rays  are  in  the  violet  end  of  the 
spectrum,  the  photographer  may  succeed  with  an  im- 


Flg.  9. 


perfectly  corrected  lens  by  having  the  sensitive  plate  a 
little  nearer  the  lens  than  the  focus  of  luminous  rays  on 
the  ground-glass  would  indicate.  Lenses  without  chro- 
matic aberration  are  called  achromatic.  The  term 
aplanatic  means  without  wandering,  and  may  apply  to 
lenses  corrected  of  both  spherical  and  chromatic  aber- 
ration. 


20 


SOIOPTICON    MANUAL. 


UNEQUAL    ILLUMINATION. 

We  can  see  that  the  brightness  of  an  image  decreases 
from  the  centre  towards  the  margin.  The  diameter  of 
the  pencil  g  g  passing  through  the  lens  parallel  to  its 
axis,  is  of  the  same  size  as  the  opening  of  the  stop  £, 
and  exceeds  the  diameter  of  the  oblique  bundle  of  rays. 
Besides,  the  oblique  rays  lose  considerable  light  by  re- 
flection, which  may  in  part  be  re-reflected  upon  the  image, 


detracting  from  its  distinctness.  With  a  short  exposure 
in  the  camera,  this  unequal  illumination  causes  an  under- 
exposure at  the  margin.  In  the  Sciopticon  it  is  even 
exaggerated  by  the  reflector,  but  we  generally  wish  the 
objects  occupying  the  central  portion  of  the  "field  of 
view"  to  stand  out  more  clearly  in  the  illuminated  disk. 

CORRECTIONS    1JS    THE    EYE. 

Spherical  aberration  and  distortion  in  the  eye  are 
corrected  (it  Is  believed)  by  the  greater  density  of  the 
crystalline  lens  about  its  centre  than  towards  the  margin, 
where  the  refracting  angle  would  otherwise  be  too  great. 

Chromatic  aberration  is  corrected  by  the  combined 


BCIOPTICON   MANUAL. 


21 


P.— 


action  of  the  crystalline  lens  and  the  vitreous  and 
aqueous  humors.  As  the  retina,  R  R  R  (Fig.  11),  is  con- 
cave, the  centre  of  concavity  being  the  optical  centre, 
there  is  no  need  of  adjusting  the  focus  to  a  flat  field. 

The  eye  is  readily,  for  the 
most  part  unconsciously,  ad- 
justed, so  that  an  object  upon 
which  we  fix  our  attention  is 
at  once  in  the  centre  of  the 
field  of  view,  and  is  focused 
according  to  its  distance. 

These  five  troublesome  properties  enumerated  in  this 
chapter,  are  thus,  in  the  eye,  harmoniously  reconciled. 
In  art  we  lack  the  peculiar  crystalline  lens,  and  the  con- 
cavity of  field.  Making  amends  for  this  lack  interferes 
with  other  corrections.  Efforts  of  various  makers  to 
effect  the  best  compromise  for  particular  kinds  of  work 
has  given  rise  to  lenses,  in  variety  too  numerous  here  to 
particularize. 

THE    LANDSCAPE    LENS. 

This  simple  achromatic  lens  (Fig.  12)  is  the  oldest 
photographic  lens  in  existence.  It  is  composed  of  the 


A 

c 

' 

i      f 

\i 

i      I- 

.  12. 


concave  lens   of  flint-glass  /,  and   the   convex   lens  of 
crown-glass  c. 


22  SCIOPTICON    MANUAL. 

Among  the  modified  forms,  the  Dallmeyer  Landscape 
Lens,  which  consists  of  three  lenses"  cemented  together, 
a  central  one  of  flint-glass  and  two  outer  ones  of  different 
kinds  of  crown-glass,  gives  better  results.  The  stop  B  B 
is  generally  one-fifth  of  the  focal  length  distant  from  the 
lens,  and  consequently  cuts  off  much  of  the  light.  In 
the  earlier  days  of  photography  a  person  had  to  sit  in 
front  of  such  a  lens,  in  a  strong  light,  for  several  minutes. 
That  in  this  way  no  artistically  perfect  pictures  could 
be  made  is  self-evident,  and  so  it  became  necessary  for 
portrait  photographers  to  have  a  lens  that  would  work 
satisfactorily  with  a  larger  opening. 

THE    PORTRAIT    OBJECTIVE. 

This  invention  is  no  accident,  but  the  result  of  a 
thorough  theoretical  calculation.  It  is  a  double  ob- 
jective with  two  unequal  lenses,  with  or  without  central 
stops  between. 

\ 


Fiff.  13. 

The  front  lens  A  consists  of  a  biconvex  crown,  and 
an  almost  plano-concave  flint-glass  lens,  cemented  to- 
gether with  Canada  balsam.  The  back  lens  B  consists 


SCIOPTICON    MANUAL.  23 

of  an  almost  plano-concave  flint,  and  a  biconvex  crown- 
glass  lens,  separated  by  a  ring.  It  is  seen  that  some 
marginal  rays  entering  the  lens  A  do  not  reach  the  lens 
J5,  because  of  the  length  of  the  tube  F  F,  which  effects 
about  the  same  result  as  the  slight  stop  D  D. 

The  curvature  of  the  field  is  somewhat  exaggerated  in 
the  diagram,  to  remind  us  that  an  aplanatic  lens  cannot 
give  a  perfectly  flat  field  without  a  stop.  In  this  gene- 
ral form  all  portrait  lenses  mostly  coincide,  differing  in 
regard  to  the  focal  length  of  the  separate  objectives  A 
and  B,  the  distance  and  size  of  the  same,  the  position 
of  the  stops,  &c. 

Considering  Fig.  13  as  representing  a  portrait  ob- 
jective, the  pencils  JS  S S  proceed  from  an  object  com- 
paratively large  and  distant,  forming  a  small  image  in 
the  camera.  Considering  the  diagram  as  representing 
a  lantern  objective,  the  order  is  reversed.  A  small 
transparency  is  in  place  of  the  curved  line,  which  in  its 
turn  becomes  the  focus  of  incident  rays,  projecting  upon 
a  screen  a  comparatively  large  and  distant  image  where 
the  pencils  S  S  S,  if  extended,  meet  in  a  focus  of  re- 
fraction. B  is  called  the  back  lens  in  either  case,  as  it 
is  back  next  to  the  instrument  to  which  the  tube  is 
attached. 


24  SCIOPTICON    MANUAL. 


CHAPTER  III. 

THE   CONSTRUCTION   OF   THE   SCIOPTICON. 

THE  PORTRAIT  OBJECTIVE. — This  objective  (Fig.  13 
or  15)  is  made  for  the  camera,  and  is  known  mostly  in 
its  relations  to  photography.  An  objective,  however, 
that  with  large  opening,  will  give  proper  direction  to 
rays  from  a  large  object  to  a  small  image  in  the  camera, 
will  answer  equally  well  in  giving  direction  to  rays  from 
the  small  picture  in  the  Sciopticon  back  to  life-size  on 
a  screen;  both  object  and  image  being  in  the  conjugate 
foci  in  either  case. 

THE  PLAIN  LANTERN  OBJECTIVE. — This  objective,  like 
the  achromatic  portrait  objective  (Fig.  13  or  15),  has 
the  advantage  of  a  front  and  a  back  lens,  A  B  (Fig.  14), 
so  far  apart  that  the  tube  serves  as  a  stop  for  marginal 
rays  with  comparatively  small  loss  of  light.  The  front 
lens  A  is  a  meniscus  of  crown-glass,  whose  tube  slides 
into  a  larger  tube  which  holds  the  plano-convex  crown- 
glass  lens  B.  Arranged  as  in  the  diagram,  the  effect 
is  scarcely  inferior,  so  far  as  common  observation  goes, 
to  that  of  the  most  expensive  combinations.  With  the 
front  tube  reversed,  so  as  to  bring  A  near  to  B,  the 
image  is  larger  but  less  distinct.  With  only  one  lens  the 
image  is  smaller.  These  different  arrangements  give 
the  three  powers  commonly  attributed  to  lenses  mounted 
in  this  form. 

NO  LOSS   OF  LIGHT    FROM    USING  AN    OBJECTIVE    OF 
LOW   POWER   WITH  A   CONCENTRATED   LIGHT. 

Were  the  picture  p  (Fig.  14)  made  luminous  by  light 
shining  upon  it,  as  in  an  opaque  lantern,  the  light  would 
radiate  in  all  directions,  and  in  accordance  with  the  law 


SOIOPTICON     MANUAL. 


of  radiation  would  lose  intensity  with  distance,  and  so  a 
lens  of  short  focus,  being  nearer,  would  bring  more  light 


Fig.  14. 

to  bear  on  the  image.  But  the  light  in  fact  proceeds 
from  I,  and  what  passes  through  the  condenser  and 
picture  becomes  a  cone  of  light,  with  its  apex  in  the 
objective. 

This  cone  of  light  must  be  regulated  by  the  position 
or  power  of  the  condenser  so  as  to  fall  within  the  compass 
of  the  objective.  Except  for  some  reflections  from  the 
surfaces  of  the  glasses,  the  light  would  not  illuminate 
the  room  at  all  in  its  passage,  and  there  would  not  be 
even  the  small  need  there  is  of  the  hood  t  (Fig.  15). 

ADVANTAGES   OF   A   CONCENTRATED    EIGHT. 

Could  the  light  proceed  from  a  mathematical  point 
behind  a  faultless  condenser,  the  pencils  a!  V  d  (Fig.  14) 
would  be  without  marginal  rays,  and  there  would  be 
nothing  for  the  objective  to  do,  for  its  office  is  to  bring 
the  marginal  rays  of  each  pencil  to  coincide  with  the 
axial  ray.  Were  we  to  adjust  the  aperture  of  our 
window  shutter  (Fig.  1),  to  the  apex  of  the  cone,  there 
would  be  no  rays  for  the  shutter  to  cut  off.  The  imago 
would  be  formed  anywhere  within  reach  of  the  light, 
either  with  or  without  lens  or  stop.  But  in  reality  even 
the  most  concentrated  light  occupies  some  space  with 
countless  radiant  points,  so  near  together  however  that 

S 


26  SCIOPTICON     MANUAL. 

their  radiations  cross  at  a  very  small  angle.  The  rays 
which  meet  and  cross  at  each  point  in  the  picture  j?, 
become  a  pencil  of  diverging  rays  to  be  focused  on  the 
screen  by  the  objective. 

We  conclude,  therefore,  that  the  more  concentrated 
the  light,  the  nearer  in  each  pencil  will  the  marginal 
rays  coincide  with  the  axial  ray,  and  the  less  will  the 
imperfections  of  lenses  become  manifest. 

THE    CONDENSER. 

The  condenser  is  formed  of  combined  lenses,  because 
the  refracting  angles  would  be  too  great  in  a  single  lens 
of  sufficient  diameter  and  short  focal  distance. 

The  simplest  arrangement  is  where  two  plano-convex 
lenses  are  combined,  with  their  curved  surfaces  inwards, 
as  in  Fig.  14;  or  at  p  q  in  Fig.  15.  The  shorter  the  focus 
of  the  condenser,  the  shorter,  with  a  given  objective, 
must  be  its  distance  from  the  light;  it  will  collect  more 
light,  but  it  will  be  in  more  danger  of  breakage  from 
the  heat.  In  the  Sciopticon  the  space  between  the  lens 
q  (Fig.  15)  and  the  front  of  the  flame  is  only  about  two 
and  a  half  inches,  but  the  glass  6r,  and  the  air  between 
it  and  q  rising  up  and  out  at  A,  makes  it  perfectly  secure. 
The  condensing  lenses  in  the  Sciopticon  are  usually  each 
4  inches  in  diameter;  but  a  4J  inch  front  condensing 
lens,  p,  is  used  to  advantage  for  slides  larger  than  the 
standard  size,  and  to  show  fully  the  corners  of  some  of 
the  ordinary  square  transparencies. 

THE  REFLECTOR. 

The  reflector  r  (Fig.  14)  is  so  adjusted  that  the  light 
is  in  the  centre  of  concavity.  Each  ray  is  reflected 
back  to  its  starting-point,  and  continues  in  line  with 


SCIOPTICON     MANUAL.  27 

the  incident  rays  a  b  c.  Some  advocate  a  larger  reflec- 
tor, a  parabolic  reflector,  or  reflectors  at  the  sides;  but 
unless  the  reflected  light  coincides  with  a  b  c,  or  nearly 
so,  it  is  not  transmitted  by  the  objective  lens. 

"With  proper  adjustments,  the  light  J,  with  that  from 
the  reflector,  is  focused  at  the  objective  tube,  of  a  com- 
parative size  proportionate  to  its  relative  distance  from 
the  condenser;  and  the  picture  p  is  focused  upon  the 
screen  at  i  of  a  comparative  size  proportionate  to  its 
relative  distance  from  the  objective.  As  represented  in 
Fig.  14,  the  smallest  diameter  of  the  cone  of  light  in  the 
objective  A  B  would  be  twice  that  of  the  point  of  light 
I,  and  the  height  of  the  image  i  would  be  twice  that  of 
the  picture^. 

To  project  a  picture  to  a  great  distance  without  too 
much  enlargement,  the  objective  must  be  of  low  power 
and  carried  forward;  and  the  light  should  be  from  a 
point  (as  in  the  calcium  light)  to  avoid  loss,  and  should 
bo  carefully  adjusted  to  secure  even  illumination. 

The  longitudinal  ridge  of  light  E  (Fig.  15),  with  a 
medium  objective  gives  uniformly  good  results  without 
perplexing  experimental  adjustments. 


VARIOUS   MODES    OF   LANTERN   ILLUMINATION. 

The  Hydro-Oxy-Calcium  light,  or  lime  made  incan- 
descent by  a  jet  of  hydrogen  and  oxygen  in  flame  upon 
it,  is  the  most  brilliant  available  light.  Its  concentrated 
form  adds  greatly  to  its  value  for  the  lantern.  The  Oxy- 
Calcium  light  produced  by  a  jet  of  oxygen  on  to  lime, 
through  an  alcohol  flame,  is  much  inferior  to  what  is 
produced  by  the  mixed  gases.  It  is  much  used,  because 
ono  gas  is  easier  to  manage  than  two,  and  it  is  counted 


28  SCIOPTIOON     MANUAL. 

Bafer.  A  lantern  with  a  calcium  light  of  either  kind  is 
commonly  called  a  Stereopticon. 

The  Magnesium  light  is  excellent  in  photography,  but 
it  gives  off  troublesome  fumes,  and  for  a  continued 
lantern  exhibition  is  too  liable,  even  with  well-regulated 
clockwork,  to  leave  the  lookers-on  in  sudden  darkness. 

The  Electric  light  is  intense  and  concentrated,  but  it 
requires  too  much  apparatus  to  be  available. 

The  above  so-called  chemical  lights,  are,  if  well  man- 
aged, much  brighter  than  flame,  even  at  its  best.  The 
Sciopticon  has  a  double  flame,  which  is  not  only  very 
bright,  but  gives  much  more  distinctness  to  the  image, 
by  its  standing  edgewise  to  the  condenser  instead  of 
broadside,  as  a  single  flame  must,  to  prevent  its  casting 
a  dark  shadow  on  the  disk.  No  lantern  of  any  sort  can 
compare  with  the  Sciopticon  in  point  of  convenience. 
We  may  conclude  that  the  Hydro-Oxy-Calcium  light  is 
best  for  exhibitions  on  a  large  scale,  and  as  for  the  rest, 
the  Sciopticon  is  desirable  as  combining  efficiency  and 
great  convenience. 


THE  SIZE  PROPER  FOR  THE  ILLUMINATED   DISK. 

The  image  enlarges  in  area,  and  diminishes  propor- 
tionately in  brightness,  as  the  distance  of  the  lantern 
from  the  screen  increases.  A  disk  of  six  or  seven  feet 
is  about  right  for  figures,  statuary,  <fcc.,  to  give  bright- 
ness and  not  an  unnatural  size ;  while  landscapes,  &c., 
appear  better  on  a  disk  of  eight  or  ten  feet,  or  more. 
With  an  objective  of  about  four  inches  back  focus,  as  is 
most  used  on  the  Sciopticon,  a  distance  of  about  sixteen 
feet  from  the  screen  gives  a  disk  of  about  eight  feet. 
The  arrangement  can  be  varied  to  suit  circumstances. 


8CIOPTICON     MANUAL.  29 

ANALYSIS   OF  THE    SCIOPTICOW. 

The  lenses,  mountings,  &c.,  Fig.  15,  are  shown  in  sec- 
tion. What  is  left  of  the  frame  and  cylinder,  the  lamp, 
chimney,  reflector,  &c.,  are  shown  in  perspective.  The 
parts  are  as  follows : 

a  J — Front  combination  of  the  objective  cemented  together. 

c  d — Back  combination  separated  by  a  ring.  If  the  cells  holding 
these  combinations  are  unscrewed  and  the  lenses  removed,  they 
must  be  returned  in  the  same  order  and  position  as  seen  in  the  dia- 
gram. There  is  no  need  of  removing  them.  Even  the  outer  sur- 
faces of  a  and  d  will  seldom  need  dusting  if  kept  in  a  clean  place 
with  the  caps  closed.  They  should  not  be  fingered,  and  the  brush 
or  fabric  used  for  dusting  them  should  be  clean  and  soft. 

e — Milled  head  for  adjusting  the  focus. 

// — Flange  attached  to  the  projecting  wooden  ring^^r. 

The  tube  here  represented  is  a  quarter-size  portrait  camera  tube 
of  4\  inches  back  focus,  requiring  an  aperture  in  g  h  of  2|  inches 
in  diameter.  If  a  larger  tube  is  used,  the  aperture  in  g  h  has  to  be 
enlarged.  If  the  back  focus  is  more  than  5  inches,  the  extension 
front  h  k  must  be  drawn  out  more  or  less  from  the  main  body,  as  is 
shown  in  the  diagram.  If  the  focus  is  shorter  than  3J  inches,  the 
ring  g  g  is  removed,  letting  the  flange/  back  to  A. 

h  h  h' — "Wooden  frame  of  the  extension  front ;  h  f  sliding  in  a 
groove  within  the  body-frame  I  I. 

i — Top  of  the  hood  covering  light  dispersed  by  reflection.  The 
near  side  is  cut  away  to  show  the  screen  k ;  the  edge  of  the  remain- 
ing side  is  seen  beyond  k. 

k — Is  now  modified  into  a  horizontal  lid,  which  shuts  up  over  the 
lens  d,  darkening  the  picture  on  the  screen  like  a  falling  curtain. 

I  I — Portion  of  the  wooden  frame,  the  rest  being  mostly  cut  away 
to  show  the  lamp,  and  how  the  extension  front  slides  in  its  groove. 

m — Claw  attached  to  the  front  foot. 

n — Flange  under  the  back  foot.  On  the  top  of  the  Sciopticon 
case,  or  box  in  which  it  is  carried,  and  which  can  be  placed  upon  a 
stand  or  table  to  elevate  the  instrument  to  proper  height  while  in 
use,  are  two  round-headed  screws,  slightly  raised,  and  at  the  dis- 
tance apart  of  m  n ;  m  clings  to  one,  and  n  slips  under  the  other, 


30  SCIOPTICON     MANUAL. 

thus  holding  the  instrument  firmly  in  place.  "When  a  pair  is  used 
for  dissolving  views,  the  fronts  are  thus  held  in  a  fixed  position, 
while  the  rear  ends  may  be  spread  apart  till  the  disks  on  the  screen 
coincide. 

o  o/ — Stage  and  spring  for  wooden-mounted  pictures.  The  opera- 
tor standing  behind,  slides  a  picture  horizontally  in  at  o,  letting  it 
bear  against  the  condenser  mounting,  and  letting  it  project  equally 


Fig 


both  sides  of  the  cylinder.  The  picture  is  drawn  out  with  the  left 
hand,  while  with  the  right  hand  another  is  made  to  follow  in  its 
place,  so  as  not  to  show  the  white  disk  on  the  screen. 

p  q  —  Condensing  lenses.  Lenses  when  taken  from  a  damp  or 
cold  place  are  apt  to  become  covered  with  moisture,  which  shades 
the  pictures.  It  is  better  when  this  is  likely  to  be  the  case,  to  let 
the  instrument  stand  in  a  warm  room  awhile,  or  else  to  draw  the 
lenses  apart  and  dry  them  before  beginning  an  exhibition. 

r  —  Brass  ring,  holding  the  condenser  cells  suspended  in  the  cylin- 


SCIOPTICON     MANUAL.  31 

der,  so  as  not  to  be  anywhere  in  contact  with  it.  The  ring  shuts 
over  the  end  of  the  cylinder  like  the  cover  of  a  tin  pail.  To  re- 
move the  condenser,  the  extension  front  is  drawn  off,  and  the  stage 
o  is  lifted  out  of  its  place. 

s — Lamp  cup  for  kerosene  oil.  It  holds  three  gills,  or  enough  to 
last  about  4  hours.  "When  it  has  to  be  moved  about  much,  it  is 
better  not  to  fill  it  more  than  two-thirds  full,  for  if  any  oil  gets  out- 
side, it  gives  off  its  offensive  smell ;  while  if  there  is  no  oil  outside 
there  is  no  smell  from  it  in  the  least.  "When  packed  for  transpor- 
tation, the  oil  should  be  thoroughly  drained  off. 

t — Nozzle  to  admit  the  oil.  It  is  large,  so  that  if  a  wick  is  care- 
lessly turned  down  into  the  cup,  it  can  be  fished  out  with  a  bent 
wire. 

u — Side  of  one  of  the  two  tubes,  showing  how  the  conduction  of 
heat  downwards  is  counteracted  by  breaking  the  connection  in  the 
metal.  It  is  made  of  tin,  for  the  reason  that  it  is  a  slower  conductor 
than  brass. 

v  v — Tops  of  the  two  tubes.  They  carry  No.  8  wicks,  which  are 
an  inch  and  a  half  wide.  The  lamp  being  taken  out,  the  wicks  are 
pushed  down  the  tubes  till  they  are  caught  by  the  ratchet-wheels 
and  drawn  down.  Should  a  loose  thread  of  the  wick  get  clogged 
in  the  wheels  it  must  be  drawn  out  and  cut  off.  The  ratchet-wheels 
could  be  made  to  bear  tighter  on  the  wicks  by  pounding  gently 
along  the  bottom  of  the  tubes,  but  such  a  necessity  is  not  likely  to 
happen. 

w  w — Buttons  for  adjusting  the  wicks;  both  are  turned  inward 
to  raise  the  wicks,  arid  outward  to  draw  them  down. 

x — Spring  for  holding  the  lamp. 

z — Stop,  preventing  the  lamp  from  sliding  in  too  far. 

A  B — Portions  of  the  cylinder  not  cut-  away,  seen  beyond  the 
condenser  and  flame-chamber. 

C—  Portion  of  the  cylinder  turned  up,  to  give  free  ventilation  all 
about  the  flame-chamber. 

D — Portion  of  the  cylinder  turned  down  and  supported  by  the 
wooden  frame. 

E  E'  E" — Bottom  of  the  flame-chamber.  It  is  not  supported  by 
contact  with  the  lamp,  thus  avoiding  the  conduction  of  heut  down- 
wards. The  slot  through  which  the  flame  ascends  is  two  inches 
long  by  half  an  inch  wide.  Ef  answers  to  the  deflecting  cap  of  a 


32  SCIOPTICON     MANUAL. 

common  lump.  E"  is  level,  to  allow  the  lamp  (the  wicks  being 
turned  down)  to  slide  in  and  out.  E  slopes  so  as  not  to  shade  tho 
light  from  the  condenser. 

F — Narrow  strip  of  glass,  quarter  of  an  inch  wide,  held  in  a 
socket  before  the  flame,  to  give  upward  direction  to  heated  air.  It 
will  not  crack  from  heat  because  it  is  so  narrow,  and  without  ob- 
structing light  it  takes  from  tho  glass  G  its  liability  to  crack. 

O — Front  of  flame-chamber  glass  It  is  now  held  in  a  tin  frame 
by  a  wire  ring,  so  that  should  it  crack,  it  is  still  kept  in  place  with- 
out harming  the  effect  on  the  screen. 

G' — Back  flame-chamber  glass.  The  lamp  is  lighted  by  remov- 
ing this  glass,  and  reaching  the  wicks  with  a  lighted  match.  G  G/ 
must  be  in  place  to  secure  the  draft.  F,  especially  since  the  intro- 
duction of  the  tin  frame  for  <?,  is  scarcely  necessary. 

H — Reflector,  used  also  to  close  the  rear  of  the  cylinder.  The 
centre  of  concavity  is  at  JEX,  so  that  reflected  rays  are  thus  made  to 
coincide  with  incident  rays  from  E/  to  the  condenser. 

7 — Chimney,  giving  large  outlet  to  heated  air. 

J — Chimney  cap,  for  darkening  the  outlet.  It  may  be  raised  to 
increase  the  draft,  when  the  lamp  gets  to  burning  freely  enough  to 
bear  it. 

PACKING. 

No  instrument  is  forwarded  without  being  first  proved 
by  careful  trial.  The  oil  is  then  poured  off,  and  the 
lamp  burned  awhile  afterwards,  to  prevent  any  further 
drainage  should  it  be  shipped  wrong  side  up.  Let  this 
precaution  be  taken  by  all  who  pack  the  instrument  for 
transportation,  that  there  may  be  none  of  the  offensive 
smell  of  oil  when  the  instrument  is  unpacked  and  used. 

The  wicks  are  left  in  the  tubes,  ready  for  use.  Four 
extra  wicks,  with  the  narrow  glass,  J?,  are  tied  together, 
which  with  a  dozen  flame-chamber  glasses,  Gr  Grf,  are 
sent  with  each  instrument.  F  is  removed,  as  it  is  liable 
to  fall  out  if  inverted.  For  the  most  part  Gr  G'  are  left 
in  place.  Packing  is  placed  between  G  and  </,  to  pro- 


SOIOPTICON     MANUAL.  33 

vent  thefr  getting  out  of  place  and  scratching  against 
each  other;  also  between  Gf  and  jfiT,  and  between  the 
condensing  lenses. 

The  cap  J  is  removed  and  placed  behind  the  chimney. 
The  whole  is  snugly  packed  in  a  box  with  stuffing,  and 
the  cover  fastened  on  with  screws.  These  particulars 
may  be  advantageously  referred  to  in  case  of  repacking 
by  the  purchaser  or  borrower. 


RULES    FOR   OPERATING   THE    SCIOPTICO\. 

In  unpacking  a  new  instrument  the  parts  must  be 
separated,  to  remove  the  packing  papers. 

Dust  them  if  necessary. 

For  the  lenses  and  reflector  use  a  duster  that  is  soft 
and  clean. 

"Warm  and  dry  the  condensing  lenses  if  inclined  to  fog. 

Adjust  I1,  6r,  6r',  J,  and  the  lenses,  as  seen  in  Fig.  15. 

Shut  the  extension  front  back  to  its  place. 

Fill  the  lamp  about  two-thirds  full  with  standard 
kerosene  oil.  The  fire  test  should  be  110°  at  least;  that 
of  Pratt's  astral  oil  is  145°. 

Avoid  carelessly  tilting  the  lamp  when  it  is  very  full, 
and  so  avoid  the  smell  of  oil  evaporating  from  the  out- 
side surface. 

Turn  down  the  wicks,  so  they  will  not  rub  against  the 
deflecting  plate  while  withdrawing  or  inserting  the  lamp. 

It  is  convenient  to  stand  the  instrument  so  as  to  be 
about  breast  high. 

The  image  enlarges  as  the  distance  of  the  instrument 
from  the  screen  increases.  With  a  medium  objective,  a 
distance  of  sixteen  feet  gives  a  disk  of  eight  feet,  &c. 

Exhibitions  of  this  sort  appear  to  the  best  advantage 


34  SCIOPTICON     MANUAL. 

in  the  evening ;  shutting  out  daylight  is  not  only  trou- 
blesome, but  the  eye  is  not  prepared  for  the  contrast. 
Lights  should  bo  turned  down  near  the  screen,  but  may 
be  left  dimly  burning  in  the  distance,  or  out  of  range 
of  the  screen. 

Light  the  lamp  in  the  instrument,  as  it  stands  in  the 
diagram,  by  removing  the  back  glass,  (?',  turning  up  the 
wicks  by  a  turn  inward  of  the  buttons  w  10,  and  reach- 
ing the  wicks  V  V  through  E  with  a  lighted  match. 
To  avoid  smoke,  turn  the  wicks  almost  down  again  till 
the  glass  is  replaced. 

Turn  up  the  flames  evenly  about  half  an  inch  at  first; 
they  will  rise  a  little  after  the  wicks  are  warm,  when 
they  may  need  looking  to  again,  after  which  they  will 
stand  steady  without  requiring  further  attention. 

Put  out  the  light  by  drawing  the  wicks  down  with  a 
turn  of  the  buttons  outward,  and  then  blowing  under 
the  reflector. 

The  wicks  may  be  trimmed  when  the  lamp  is  taken 
out  to  bo  filled;  cut  them  level;  it  may  bo  done  more 
evenly  by  only  removing  the  black  part. 

If  kept  in  a  dry  place  the  reflector  will  keep  its  polish 
for  a  long  time;  it  is  protected  by  a  film  which  should 
not  be  rubbed. 

While  exhibiting,  the  operator  should  stand  behind 
the  instrument,  having  the  slides  arranged  at  his  right, 
in  the  proper  order  and  inverted  position  required  for 
exhibition.  If  the  instrument  is  in  front  of  the  screen, 
the  wire  ring  fastening  the  double  glass  into  the  wooden 
mounts  should  be  towards  the  condenser,  in  order  to 
show  the  views  in  a  right-handed  position.  Some  oper- 
ators mark  what  should  be  the  upper  right  hand  corner 
of  each  picture,  with  a  piece  of  white  paper,  or  a  notch. 

Pass  the  slides  in  with  the  right  hand,  level  and  true, 


BCIOPTICON     MANUAL.  35 

without  jumping  them  about.  The  stage  o  slants  down 
to  the  condenser,  to  keep  the  slides  down  close  to  it. 

Take  the  slides  out  with  the  left  hand  as  others  are 
pushed  into  place,  so  as  to  leave  none  of  the  white  disk 
visible,  and  put  them  in  their  box  as  before.  A  slide 
standing  endwise  between  those  which  have  been  used 
and  those  which  have  not,  will  keep  them  apart. 

As  photographers  are  giving  increasing  attention  to 
preparing  slides,  there  is  an  increasing  proportion  in  the 
market  of  the  size  of  half  a  stereoscopic  view,  or  3J 
inches  square,  bound  with  narrow  binding.  For  these 
a  wooden  stage  9  inches  long  is  attached  to  o  o',  so  that, 
without  crowding  a  picture  out  at  the  end,  its  successor 
may  be  pushed  into  its  place,  by  the  finger  following  to 
where  the  cylinder  and  stage  intersect;  with  the  left 
hand  at  the  button  attached  to  the  back  stop  we  may : 
1.  Close  stop.  2.  Slide  in  the  picture.  3.  Uncover — so 
that  in  the  time  of  counting  three  we  have  changed  the 
scene  without  any  visible  movement.  This,  well  man- 
aged, is  better  than  dissolving  views  poorly  managed. 

Tanks  for  insects,  fish,  chemical  experiments,  &c.,  &c., 
slide  into  the  stage  as  easily  as  pictures.  The  stage 
being  open  at  the  top,  with  no  bulky  lantern  case  to  ob- 
struct it,  is  peculiarly  suited  to  all  such  operations. 

A  slender  wire  in  the  direction  r  0',  answers  the  pur- 
pose of  a  long  rod  pointing  upward  on  the  screen  to 
explain  the  representations. 

The  simplicity  and  completeness  of  the  Sciopticon  are 
more  evident  in  practice  than  may  seem  while  consider- 
ing so  wide  a  range  of  details  and  contingencies.  The 
advantage  of  having  an  instrument  so  completely  under 
one's  hand  is  not  only  felt  by  the  operator,  but  the 
smoothness  it  gives  to  the  exhibition  is  appreciated  by 
spectators. 


36  SCIOPTICON     MANUAL. 

Beginners  who  wish  to  understand  and  operate  the 
Sciopticon  by  explanations  and  directions  which  can  be 
seen  at  a  glance,  may  examine  in  connection  with  Fig. 
15,  the  following 

RECAPITULATION. 

The  front,  h  h  h',  with  its  attachments,  draws  apart 
from  the  body  of  the  instrument. 

The  stage  o  or  lifts  out. 

The  condenser,  p  q,  is  drawn  out  by  laying  hold  of 
the  ring  r. 

The  cells  holding  p  and  q  draw  apart. 

The  front  flame-chamber  glass  G-  is  held  in  place  by 
the  spring  A,  which  can  be  reached  through  the  open- 
ing over  A. 

With  h  o  p  q  Gr  removed,  the  narrow  glass  F  (found 
packed  with  the  extra  wicks)  is  reached  to  position, 
and  needs  no  further  attention. 

The  portion  of  chimney  attached  to  the  cap  J,  tele- 
scopes into  /. 

The  lamp  S  slides  out  horizontally,  by  raising  the 
spring  X. 

With  packing  removed,  glasses  clean,  lamp  filled  two- 
thirds  full  of  standard  kerosene  oil,  and  all  parts  in  place 
as  seen  in  the  cut,  remove  the  back  glass  Gr',  and  reach 
the  wiqks  v  v  with  a  lighted  match.  Beplace  Gf,  and 
let  the  flames  stand  about  one  inch  high. 

See,  specially,  that  an  oil  so  inflammable  as  to  light 
at  the  safety  slit  u  is  not  used — that  no  oil  is  left  outside 
the  lamp-cup,  to  give  oif  an  offensive  smell — that  the 
wicks  at  v  v  are  not  raised  to  rnb  against  the  plate  JL" 
when  the  lamp  slides  in  and  out — that  the  flame-chamber 
glasses  Gr  Gr'  are  in  place  to  secure  draft,  and  that  the 


SCIOPTICON     MANUAL.  37 

oil  is  thoroughly  drained  out  of  the  lamp-cup  should  the 
instrument  have  to  be  repacked  for  transportation  by 
public  conveyance. 

Standing  behind  the  instrument,  placed  about  breast 
high — as  upon  its  box  on  a  stand  or  table — close  down 
the  reflector  jBT,  pass  in  the  slides  at  o  c?  with  the  right 
hand,  taking  them  out  with  the  left  as  other  slides  take 
their  places.  Focus  the  picture  by  the  milled  head  e, 
upon  the  screen,  which  may  be  distant  sixteen  feet, 
more  or  less,  as  it  is  desired  to  have  the  scenes  on  a 
larger  or  smaller  scale. 

k  (unlike  the  cut)  is  horizontal,  and  turns  up  to  give 
the  appearance  of  a  falling  curtain  on  the  screen. 

THE  SCREEN. 

There  can  be  nothing  better  for  the  projected  pictures 
than  the  white-finished,  whitewashed,  or  white-papered 
walls  of  many  a  lecture-room  or  dwelling.  An  appro- 
priate space  specially  set  apart  and  papered  with  white 
wall  paper,  having  an  outline,  say  of  a  wide  recess  or 
niche  for  statuary,  is  an  inexpensive  and  not  inelegant 
fixture,  on  which  to  display  before  the  assembled  house- 
hold, without  waste  of  room  or  trouble  in  arranging,  the 
richest  treasures  of  all  the  art  galleries  in  Christendom. 
The  time  is  coming,  when  for  purposes  of  demonstra- 
tion and  illustration  in  the  lecture-room,  this  whiteboard 
will  rival  the  blackboard. 

The  best  material  in  the  market  for  a  movable  screen 
of  good  size,  seems  to  be  bleached  sheeting  of  close 
texture,  but  not  very  fine,  twelve-quarters  wide.  This 
gives  us  the  material,  nine  feet  square,  for  about  two 
dollars.  It  has  the  advantage  of  being  available 
whether  the  instrument  is  placed  before  or  behind  it. 
As,  however,  every  pencil  of  light  falling  between  the 


38  SCIOPTICON    MANUAL. 

open  threads  of  the  texture  is  lost,  it  is  better,  when 
the  instrument  is  invariably  to  bo  placed  in  front, 
to  cover  the  surface  with  whiting  or  paper,  keeping 
it  smooth  by  mounting  it  on  a  roller.  When  illumin- 
ated from  behind,  the  screen  should  be  wet,  to  tighten 
its  texture  and  to  make  it  translucent,  and  consequently 
luminous  on  the  side  towards  the  spectators.  It  can  be 
wet  and  then  stretched  upon  a  frame,  or  first  mounted 
and  then  sprinkled  to  saturation.  For  home  use,  a  sheet 
may  be  stretched  across  the  frame  upon  which  the  fold- 
ing doors  of  most  modern  houses  are  hung,  the  doors 
being  thrown  open  at  the  commencement  of  the  exhibi- 
tion. A  waxed  screen  is  often  recommended,  but  it  is 
little  used  on  account  of  the  difficulty  of  keeping  it 
smooth  and  clean.  An  unmounted  screen  can  be  quickly 
put  up  in  any  room  by  procuring  two  strips  of  wood 
about  two  inches  square,  and  long  enough  to  reach  from 
the  floor  to  the  ceiling ;  a  side  of  the  screen  is  tacked 
to  each  one  of  these  strips,  which  are  then  stretched 
apart,  and  wedged  up  tightly  between  the  floor  and  the 
ceiling. 

To  widen  the  screen  to  more  than  nine  feet,  join  the 
added  width  to  each  side,  rather  than  bring  a  seam  into 
the  centre  of  the  views. 

A  fine  picture  from  within,  upon  oiled  muslin,  stretched 
upon  a  frame,  made  to  fit  a  show  window,  is  always 
greatly  admired  by  all  the  passers-by.  Such  a  framed 
oiled  screen,  on  a  small  scale,  can  also  be  conveniently 
used  in  parlors,  or  in  the  doorway  leading  out  from  the 
company. 

Working  behind  the  screen  has  in  many  cases  decided 
advantages,  but  the  images  can  hardly  be  as  bright  by 
transmitted  light,  and  other  things  being  equal,  it  is 
better  for  the  instrument  to  be  in  front. 


SCIOPTICON     MANUAL.  39 


DISSOLVING    VIEWS. 

THE  STAND. — The  peculiar  stand  represented  in  Fig. 
16,  is  mostly  the  one  used  with  Sciopticon  dissolving 
apparatus,  and  so  can  better  be  described  with  it,  but  it 
is  not  necessarily  a  part  of  it. 

It  consists  of  a  well-made  walnut  box,  mounted  on 
two  pairs  of  adjustable  legs,  attached  by  fixed  thumb- 
screws and  nuts.  The  back  legs  are  an  inch  or  so  shorter 
than  those  attached  to  the  front  at  A,  to  elevate  the 
range  of  the  lanterns.  The  back  of  the  stand  may 
be  known  by  the  match-lighter  G,  and  by  its  being  nec- 
essary for  the  operator  from  behind  to  have  the  open- 
ing and  the  box  of  slides  B  at  his  right  hand.  The 
slide  D  stands  on  end,  to  separate  the  used  from  the 
unused  slides. 

When  the  apparatus  is  taken  down,  the  legs  swing 
together  on  their  hinges,  and  are  tied  in  a  bundle ;  the 
open  side  of  the  box  becomes  the  top ;  the  instruments 
occupy  the  stalls  E  and  F;  the  djssolver  is  drawn  apart 
and  placed  alongside ;  the  caps  are  removed  from  the 
chimney,  and  placed  in  the  rear;  the  box  of  slides  occu- 
pies the  space  in  front;  the  swing  shelf  G  becomes  the 
lid  and  is  locked  down;  the  strap  S  and  its  mate,  now 
hidden  under  the  instruments,  meet  over  the  top  for  one 
carrier,  or  serve  like  the  ears  of  a  basket,  for  two. 

But  as  a  stand,  as  seen  in  the  diagram,  the  front  of 
the  box  becomes  the  baseboard,  and  like  any  other  13 
by  17  inch  board,  affords  suitable  standing-room  for  the 
apparatus;  it  is  more  likely  to  keep  it  level  than  a  sep- 
arate board,  as  it  is  dovetailed  and  firmly  fastened  in 
place. 

DISSOLVING  APPARATUS  ARRANGED. — The  fronts  of 
the  sciopticons  R  and  L,  hold  firmly  by  claws  to  two 


40 


BCIOPTICON    MANUAL. 


mg.16. 


SCIOPTICON     MANUAL.  41 

screw-heads  7J  inches  apart;  the  flanges  in  the  rear 
slide,  under  two  similar  screw-heads,  holding  the  instru- 
ments down,  but  allowing  them  to  spread  till  their  disks 
coincide  on  the  screen. 

The  construction  of  the  dissolver  is  shown  in  Fig.  17, 
in  its  three  parts.  The  crescent-shaped  dissolver  a  is 
mounted  on  the  arm  &,  as  seen  in  Fig.  16,  so  as  to  cover 
alternately  the  tubes  on  It  and  L,  as  it  swings  from  side 
to  side.  The  horizontal  part  of  b  slips  into  c  till  tho 
length  of  the  united  axle  just  allows  the  dissolver  to 
swing  clear  of  the  tubes,  and  the  whole  is  held  in  place 
by  a  socket-spring  at  each  end  of  the  baseboard. 

The  dissolver  is  operated  by  the  handles  at  c,  which 
are  adjusted  at  the  proper  angle  to  limit  the  lateral 
movement  of  a  to  the  distance  between  tho  tubes. 

Light  the  lamps  in  their  place  by  reaching  the  wicks 
with  a  lighted  match,  and  attend  to  them  at  first  to  see 
that  they  burn  steadily  and  evenly.  Focus  a  picture  in 
.R,  for  example,  while  L  is  covered  by  tho  dissolver,  and 


Fig.  17. 

in  L  while  R  is  covered ;  this  reduces  the  disks  to  equal 
size  on  the  screen.  With  tho  slides  removed,  and  the 
dissolver  in  the  position  as  shown  in  Fig.  16,  spread  tho 
lanterns  till  the  disks  coincide. 

DIRECTIONS  FOR  PRODUCING  THE  DISSOLVING  EFFECTS. 
— With  the  lanterns  lighted,  and  arranged  as  shown  in 
Fig.  16,  and  a  slide  placed  in  each,  then  the  gradual 


42  SCIOPTICON    MANUAL. 

moving  of  the  dissolver  will  very  mysteriously  dissolve 
one  view  into  another. 

This  effect  is  commonly  produced  with  slides  not  spe- 
cially arranged  for  the  purpose,  but  it  is  desirable  that 
they  should  be  of  similar  size  and  shape,  and  that  they 
should  be  put  in  evenly,  so  as  to  cover  the  same  spaco 
on  the  screen. 

Many  slides  are,  however,  selected  and  executed  with 
special  reference  to  their  producing  charming  effects  in 
dissolving. 

They  are  mostly  arranged  in  pairs,  as  some  view  in 
summer  and  the  same  in  winter,  by  day  and  by  night, 
interior  and  exterior,  in  sunshine  and  in  storm,  or  hu- 
manity in  opposite  moods.  Sometimes  the  series  are 
more  extended,  as  the  Seasons,  the  Yoyage  of  Life,  &c., 
and  sometimes  they  are  in  connection  with  chroma- 
tropes  to  represent  volcanic  action,  conflagrations,  fire- 
works, turning  mills,  &c.  Suppose,  for  example,  Saint 
Peter's,  at  Rome,  is  thrown  upon  the  screen  from  .72,  and 
a  night  view  of  the  same  is  placed  in  Jj;  then  as  the 
dissolver  is  changed,  Saint  Peter's  with  its  surroundings 
continues  on  the  screen,  but  an  appearance  of  night 
comes  over  it;  the  windows  glitter  with  a  thousand 
lights,  and  the  moon  makes  its  appearance  in  the  heav- 
ens. Now,  suppose  a  chromatrope,  suited  to  the  pur- 
pose, is  placed  in  .K,  then  as  the  change  proceeds  fire- 
works will  rise  from  the  darkness,  and  illumine  the  sky. 

The  snow  effect  is  produced  by  a  strip,  usually  of 
silk,  with  pin-holes  all  over  its  surface,  mounted  on  rolU 
ers  within  a  slide,  so  that  when  the  silk  is  rolling  up, 
snowflakes  appear  on  the  screen  to  be  falling.  Let,  for 
example,  a  farm-house  scene  be  projected  from  R  upon 
the  screen,  amid  all  the  glory  of  summer  vegetation ; 
place  the  snow  slide  in  L,  and  let  an  assistant  slowly 


SCIOPTICONMANUAL.  43 

roll  it  up  while  the  dissolver  passes  over;  the  snow 
shows  plainer  and  plainer,  till  nothing  but  the  falling 
snow  appears.  Now  place  in  H  the  same  view  in  winter 
and  turn  back  the  dissolver ;  the  storm  subsides,  and 
the  farm-house  scene  again  appears  in  the  morning 
light,  covered  with  the  newly  fallen  snow  of  the  win- 
ter's night. 

To  bring  out  statuary  on  a  blue  ground,  a  slide  of 
blue  glass,  and  usually  one  of  red  glass  also  is  used. 
Change  any  scene,  first  into  a  red  disk,  then  the  red 
into  blue,  and  then  let  a  piece  of  statuary  slowly  come 
out  into  the  blue  ground,  while  the  blue  becomes  darker 
and  darker,  till  it  ends  in  a  blackness  which  seems  to 
add  vigor  to  the  representation. 

A  beautiful  effect  is  produced  by  a  wheel  chromatrope, 
used  continuously  in  one  of  the  lanterns,  while  a  series 
is  shown  in  the  other,  turning  it  inward  and  outward 
alternately,  as  the  dissolving  proceeds.  It  thus  seems 
to  suck  up  the  vanishing  scene  as  in  a  maelstrom,  and 
to  bring  out  its  successor  with  scintillations  of  colored 
lights. 

A  pleasing  effect  is  produced  by  showing  a  series  of 
views  in  one  lantern,  and  a  veranda,  or  some  appropriate 
design  with  opaque  centre,  with  the  other.  If  in  adopt- 
ing this  suggestion,  the  veranda  be  focused  for  the  edges 
of  the  field,  and  the  view  focused  for  the  centre,  a  flat 
field  is  obtained  over  the  entire  disk.  In  this  case,  and 
in  all  cases  when  light  from  both  lanterns  is  to  appear, 
the  dissolver  is  slipped  up  an  inch  higher,  and  kept  in 
position  as  in  Fig.  16. 

The  slow  or  dissolving  process  may  become  monoto- 
nous, and  it  is  not  always  appropriate.  We  hardly  like 
to  see  "Pilgrim"  in  his  "Progress"  fading  away,  while 
his  double  by  his  side  is  slowly  growing  in  strength  and 


44  SCIOPTICON     MANUAL. 

vigor.  It  is  better  to  allow  the  axle  of  the  dissolvcr  to 
turn  at  once,  flashing  the  change  upon  the  disk. 

Much  use  can  be  made  of  this  expedient,  as  it  is  so 
easily  effected  in  the  apparatus  represented.  A  dupli- 
cate picture  placed  in  R  and  L  in  reverse  order,  the 
dissolver  being  changed  back  and  forth  with  a  sudden 
movement,  will  show  an  "  about  face  "  as  of  a  person 
bowing  to  the  company,  a  lion  uneasy  in  his  cage,  &c. 

Lightnings  may  thus  be  made  to  flash  upon  scenery, 
especially  when  the  view  is  darkened  somewhat  by 
turning  down  its  light  a  little,  giving  the  appearance  of 
a  rising  tempest. 

Discretion  and  good  taste  should  be  observed  in  ar- 
ranging the  slides  for  an  exhibition,  so  as  not  to  mar 
beauty  with  caricature,  or  sacred  scenes  with  what  is 
ridiculous ;  yet  it  is  well  to  avoid  monotony,  for  "variety 
is  the  spice  of  life." 

Dissolving  views,  it  must  be  confessed,  are  usually 
treated  in  a  somewhat  florid  style  by  opticians,  so  it 
may  be  safe  to  make  some  abatement  in  anticipating  the 
effects,  especially  of  high-priced  mechanical  slides,  lest 
when  they  chance  to  fall  below  the  "  Eoyal  Polytechnic 
Institute  in  London,"  there  should  be  a  feeling  of  dis- 
appointment. 

In  the  Sciopticon  enterprise,  it  has  been  kept  steadily 
in  mind,  to  produce  beautiful  and  useful  results  by  the 
simplest  means;  and  the  desire  is  felt,  not  to  make  as 
large  sales  as  possible,  but  to  have  every  purchaser 
realize  his  highest  expectations. 

THE  PHANTASMAGORIA. 

To  produce  this  effect,  the  operator  should  be  on  one 
side  of  the  wet  screen,  and  the  spectators  on  the  other. 


8CIOPTICON     MANUAL.  45 

Taking  the  instrument  under  his  left  arm,  he  should 
go  up  pretty  close  to  the  screen,  and  adjust  the  focus 
with  his  right  hand;  the  image  of  course  will  be  very 
small;  he  must  then  walk  slowly  backwards,  at  the  same 
time  adjusting  the  focus.  As  the  image  increases  in  size, 
it  will  appear  to  the  spectators  to  be  coming  towards 
them;  and  then  again  let  him  walk  up  towards  the 
screen,  thus  diminishing  the  image,  and  it  will  appear 
to  them  as  if  receding.  The  screen  not  being  seen,  the 
image  appears  to  be  suspended  in  the  air,  and!  the  de- 
ception is  complete,  even  to  those  accustomed  to  the 
exhibition.  The  focusing  is  most  evenly  and  easily 
effected  by  prying  the  extension;  front  out  and  in  with 
the  thumb  and  fingers  of  the-  right  hand. 

Slides  producing  the  best  phantasmagoria^  effect  are 
those  containing  but  one  or  two-  figures  with,  a  black 
background.  In  ancient  times,  the  images  from  the 
phantasmagoria  were  thrown  on  the  smoke  arising  from 
a  chafing  dish  in  which  odors  and  drugs  were  burning, 
and  by  means  of  which  many  surprising  and;  apparently 
supernatural  effects  were  produced..  As  a,  relief  &om 
so  closely  following  practical  details,  let  us  advert  to 
the  probable  use  made  by  ancient  magicians,  necro- 
mancers, and  sorcerers,,  of  these  optical  contrivances 
for  producing  supernatural  illusions.  In  this  w«  cannot 
do  better  than  to  quote  from  that  eminent  authority  on 
optical  science,  Sir  David  Brewster  : 

» 

"  In  the  imperfect  accounts  wliich  have  reached  us  of  these  rep- 
resentations, we  can  trace  all  the  elements  of  optical  illusion.  In 
the  ancient  temple  of  Hercules, .at  Tyre,  £HnyN mentions  that  there 
was  a  seat  made  of  consecrated  stone,  'from  .which  the  gods  easily 
arose.'  Esculapius  often  exhibited  hirnself,  to,  his  worshipers  in 
the  temple  at  Tarsus  ;;  and  the  Temple  a.t.Enguinum^in.  Sicily,  was 


46  SCIOPTICONMANUAL. 

celebrated  as  the  place  where  the  goddesses  exhibited  themselves  to 
mortals.  Jambliches  actually  informs  us  that  the  ancient  magicians 
caused  the  gods  to  appear  among  the  vapors  disengaged  from  fire. 

"  The  character  of  these  exhibitions  in  the  ancient  temple  is  so 
admirably  depicted  in  the  following  passage  of  Damascius,  quoted 
by  M.  Salverte,  that  we  recognize  all  the  optical  effects  which  have 
been  already  described.  '  In  a  manifestation,'  says  he, '  which  ought 
not  to  be  revealed,  ....  there  appeared  on  the  wall  of  the  temple 
a  mass  of  light,  which  at  first  seemed  to  be  very  remote ;  it  trans- 
formed itself  in  coming  nearer,  into  a  face  evidently  divine  and 
supernatural,  of  a  severe  aspect,  but  mixed  with  gentleness,  and 
extremely  beautiful.  According  to  the  institutions  of  a  mysterious 
religion  the  Alexandrians  honored  it  as  Osiris  and  Adonis.' 

"  These  and  other  allusions  to  the  operations  of  the  ancient  magic, 
though  sufficiently  indicative  of  the  methods  which  were  employed, 
are  too  meagre  to  convey  any  idea  of  the  splendid  and  imposing 
exhibitions  which  must  have  been  displayed.  A  national  system 
of  deception,  intended  as  an  instrument  of  government,  must  have 
brought  into  requisition  not  merely  the  scientific  skill  of  the  age, 
but  a  variety  of  subsidiary  contrivances,  calculated  to  astonish  the 
beholder,  to  confound  his  judgment,  to  dazzle  his  senses,  and  to 
give  a  predominant  influence  to  the  peculiar  imposture  which  it 
was  thought  desirable  to  establish.  The  grandeur  of  the  means 
may  be  inferred  from  their  efficacy,  and  from  the  extent  of  their 
influence. 

"  This  defect,  however,  is  to  a  certain  degree  supplied  by  an  ac- 
count of  a  modern  necromancy,  which  has  been  left  us  by  the  cele- 
brated Benvenuto  Cellini,  and  in  which  he  himself  performed  an 
active  part. 

"  '  It  happened,'  says  he,  '  through  a  variety  of  odd  accidents,  that 
I  made  acquaintance  with  a  Sicilian  priest,  who  was  a  man  of  ge- 
nius, and  well  versed  in  the  Latin  and  Greek  authors.  Happening 
one  day  to  have  some  conversation  with  him  when  the  subject 
turned  upon  thfe  art  of  necromancy,  I,  who  had  a  great  desire  to 
know  something  of  the  matter,  told  him,  that  I  had  all  my  life 
felt  a  curiosity  to  be  acquainted  with  the  mysteries  of  this  art. 

"  *  The  priest  made  answer,  "  that  the  man  must  be  of  a  resolute 
and  steady  temper  who  enters  upon  that  study."  I  replied,  "  that  I 
had  fortitude  and  resolution  enough,  if  I  could  but  find  an  oppor- 


6CIOPT  I  CON    MANUAL.  47 

tunity."  The  priest  subjoined,  "  If  you  think  you  have  the  heart 
to  venture,  I  will  give  you  all  the  satisfaction  you  can  desire." 
Thus  we  agreed  to  enter  upon  a  plan  of  necromancy.  The  priest 
one  evening  prepared  to  satisfy  me,  and  desired  me  to  look  out  for 
a  companion  or  two.  I  invited  one  Yincenzio  Eomoli,  who  was 
my  intimate  acquaintance ;  he  brought  with  him  a  native  of  Pis- 
toia,  who  cultivated  the  black  art  himself.  We  repaired  to  the 
Collosseo,  and  the  priest,  according  to  the  custom  of  necromancers, 
began  to  draw  circles  upon  the  ground,  with  the  most  impressive 
ceremonies  imaginable ;  he  likewise  brought  hither  asafoetida,  sev- 
eral precious  perfumes,  and  fire,  with  some  compositions  also,  which 
diffused  noisome  odors.  As  soon  as  he  was  in  readiness,  he  made 
an  opening  to  the  circle,  and  having  taken  us  by  the  hand,  ordered 
the  other  necromancer,  his  partner,  to  throw  the  perfumes  into  the 
fire  at  a  proper  time,  intrusting  the  care  of  the  fire  and  perfumes 
to  the  rest,  and  thus  he  began  his  incantations.  This  ceremony 
lasted  above  an  hour  and  a  half,  when  there  appeared  several  legions 
of  devils,  insomuch  that  the  amphitheatre  was  quite  filled  with 
them.  I  was  busy  about  the  perfumes,  when  the  priest,  perceiving 
there  was  a  considerable  number  of  infernal  spirits,  turned  to  mo 
and  said,  "  Benvenuto,  ask  them  something."  I  answered,  "Let 
them  bring  me  into  the  company  of  my  Sicilian  mistress,  Angelica." 
That  night  he  obtained  no  answer  of  any  sort ;  but  I  had  received 
great  satisfaction  in  having  my  curiosity  so  far  indulged.  The 
necromancer  told  me  it  was  requisite  we  should  go  a  second  time, 
assuring  me  that  I  should  be  satisfied  in  whatever  I  asked ;  but 
that  I  must  bring  with  me  a  pure  immaculate  boy. 

"  '  I  took  with  me  a  youth  who  was  in  my  service,  of  about  twelve 
years  of  age,  together  with  the  same  Yincenzio  Romoli,  who  had 
been  my  companion  the  first  time,  and  one  Agnolino  Gaddi,  an  in- 
timate acquaintance,  whom  I  likewise  prevailed  on  to  assist  at  the 
ceremony.  "When  we  came  to  the  place  appointed,  the  priest  hav- 
ing made  his  preparations  as  before,  with  the  same  and  even  more 
striking  ceremonies,  placed  us  within  the  circle,  which  he  had  like- 
wise drawn  with  a  more  wonderful  art,  and  in  a  more  solemn  man- 
ner than  at  our  former  meeting.  Thus,  having  committed  the  care 
of  the  perfumes  and  the  fire  to  my  friend  Yincenzio,  who  was 
assisted  by  Agnolino  Gaddi,  he  put  into  my  hand  a  pintaculo  or 
magical  chart,  and  bid  me  turn  it  towards  the  places  that  he  should 


48  SCIOPTICONMANUAL. 

direct  me ;  and  under  the  pintaculo  I  held  the  boy.  The  necro- 
mancer, having  begun  to  make  his  tremendous  invocations,  called 
by  their  names  a  multitude  of  demons  who  were  the  leaders  of  the 
several  legions,  and  questioned  them,  by  the  power  of  the  eternal 
uncreated  God  who  lives  forever,  in  the  Hebrew  language,  as  like- 
wise in  Latin  and  Greek ;  insomuch  that  the  amphitheatre  was 
almost  in  an  instant  filled  with  demons  more  numerous  than  at  the 
former  conjuration.  Vincenzio  Romoli  was  busied  in  making  a 
fire,  with  the  assistance  of  Agnolino,  and  burning  a  great  quantity 
of  precious  perfumes.  I,  by  the  directions  of  the  necromancer, 
again  desired  to  be  in  the  company  of  my  Angelica.  The  former 
thereupon  turning  to  me,  said:  "  Know,  they  have  declared,  that 
in  the  space  of  a  month  you  shall  be  in  her  company." 

"  '  He  then  requested  me  to  stand  resolutely  by  him,  because  the 
legions  were  now  above  a  thousand  more  in  number  than  he  had 
designed ;  and  besides,  these  were  the  most  dangerous ;  so  that,  after 
they  had  answered  my  question,  it  behooved  him  to  be  civil  to  them 
and  dismiss  them  quietly.  At  the  same  time  the  boy  under  the 
pintaculo  was  in  a  terrible  fright,  saying  that  there  were  in  that 
place  a  million  of  fierce  men,  who  threatened  to  destroy  us ;  and 
that,  moreover,  four  armed  giants  of  enormous  stature  were  en- 
deavoring to  break  into  the  circle.  During  this  time,  whilst  the 
necromancer,  trembling  with  fear,  endeavored  by  mild  and  gentle 
methods  to  dismiss  them  in  the  best  way  he  could,  Vincenzio  Ko- 
moli,  who  quivered  like  an  aspen  leaf,  took  care  of  the  perfumes. 
Though  I  was  as  much  terrified  as  any  of  them,  I  did  my  utmost 
to  conceal  the  terror  I  felt,  so  that  I  greatly  contributed  to  inspire 
the  rest  with  resolution;  but  the  truth  is,  I  gave  myself  over  for  a 
dead  man,  seeing  the  horrid  fright  the  necromancer  was  in.  The 
boy  placed  his  head  between  his  knees  and  said,  "  In  this  posture 
will  I  die,  for  we  shall  all  surely  perish."  I  told  him  that  all  these 
demons  were  under  us,  and  what  he  saw  was  smoke  and  shadow  ; 
so  bid  him  hold  up  his  head  and  take  courage.  No  sooner  did  he 
look  up  than  he  cried  out,  "The  whole  amphitheatre  is  burning, 
and  the  fire  is  just  falling  upon  us."  So  covering  his  face  with  his 
hands,  he  exclaimed,  "  that  destruction  was  inevitable,  and  desired 
to  see  no  more."  The  necromancer  entreated  me  to  have  a  good 
heart,  and  take  care  to  burn  proper  perfumes ;  upon  which  I  turned 
to  Eomoli,  and  bid  him  burn  all  the  most  precious  perfumes  he  had. 


SCIOPTICON    MANUAL.  49 

At  the  same  time  I  cast  my  eye  upon  Agnolino  Gaddi,  who  was 
terrified  to  such  a  degree  that  he  could  scarce  distinguish  objects, 
and  seemed  to  be  half  dead.  Seeing  him  in  this  condition  I  said, 
"  Agnolino,  upon  these  occasions  a  man  should  not  yield  to  fear, 
but  should  stir  about  and  give  his  assistance,  so  come  directly  and 
put  on  some  more  of  these."  The  effects  of  poor  Agnolino's  fear 
were  overpowering.  The  boy  hearing  a  crepitation,  ventured  once 
more  to  raise  his  head,  when,  seeing  me  laugh,  he  began  to  take 
courage,  and  said  "that  the  devils  were  flying  away  with  a  ven- 
geance." 

"  '  In  this  condition  we  stayed  till  the  bell  rung  for  morning 
prayers.  The  boy  again  told  us  that  there  remained  but  few  devils, 
and  these  were  at  a  great  distance.  When  the  magician  had  per- 
formed the  rest  of  his  ceremonies,  he  stripped  off  his  gown  and 
took  up  a  wallet  full  of  books  which  he  had  brought  with  him. 

"  '  "We  all  went  out  of  the  circle  together,  keeping  as  close  to  each 
other  as  we  possibly  could,  especially  the  boy,  who  had  placed  him- 
self in  the  middle,  holding  the  necromancer  by  the  coat,  and  me 
by  the  cloak.  As  we  were  going  to  our  houses  in  the  quarter  of 
Banchi,  the  boy  told  us  that  two  of  the  demons  whom  we  had  seen 
at  the  amphitheatre  went  on  before  us  leaping  and  skipping,  some- 
times running  upon  the  roofs  of  the  houses,  and  sometimes  upon 
the  ground.  The  priest  declared,  that  though  he  had  often  entered 
magic  circles,  nothing  so  extraordinary  had  ever  happened  to  them. 

a  '  Whilst  we  were  engaged  in  this  conversation,  we  arrived  at 
our  respective  houses,  and  all  that  night  dreamed  of  nothing  but 
devils.' 

"  Although  Cellini  declares  that  he  was  trembling  with  fear,  yet 
it  is  quite  evident  that  he  was  not  entirely  ignorant  of  the  machi- 
nery which  was  at  work,  for  in  order  to  encourage  the  boy,  who 
was  almost  dead  with  fear,  he  assured  them  that  the  devils  were 
under  their  power,  and  that  '  what  he  saw  was  smoke  and  shadow/ 

"  Mr.  Koscoe,  from  whose  life  of  Cellini  the  preceding  description 
is  taken,  draws  a  similar  conclusion  from  the  consolatory  words 
addressed  to  the  boy,  and  states  that  they  '  confirm  him  in  the  belief 
that  the  whole  of  these  appearances,  like  a  phantasmagoria,  were 
merely  the  effects  of  a  magic  lantern  produced  on  volumes  of  smoke 
from  various  kinds  of  burning  wood.'  If  we  suppose  that  the 
necromancer  either  had  a  regular  magic  lantern,  or  that  he  had 


50  SCIOPTICON    MANUAL. 

fitted  up  his  concave  mirror  in  a  box  containing  the  figures  of  his 
devils,  and  that  thk  box  with  its  lights  was  carried  home  with  the 
party,  we  can  easily  account  for  the  declaration  of  the  boy,  '  that 
as  they  were  going  home  to  their  houses  in  the  quarter  of  Banchi, 
two  of  the  demons  whom  we  had  seen  at  the  amphitheatre  went  on 
before  us  leaping  and  skipping,  and  sometimes  running  upon  the 
roofs  of  the  houses,  and  sometimes  upon  the  ground.'  " 

"We  could  hardly,  in  this  enlightened  age,  attain  to 
the  brilliant  success  of  frightening  a  "pure  immaculate 
boy"  out  of  his  senses  with  "smoke  and  shadow,"  even 
were  it  a  laudable  undertaking.  The  delirium  tremens, 
in  a  somewhat  similar  way,  will  doubtless  continue  to 
be  hard  on  older  and  wayward  boys  who  take  to  their 
cups,  but  be  it  ours  to  please  and  instruct,  and  that,  in 
a  more  excellent  way.  A  jet  of  steam  could  be  con- 
veniently arranged  for  the  "  ghost "  experiment,  but  for 
the  most  part,  a  wet  screen  is  better  than  smoke,  and 
effects,  not  only  startling,  but  truly  beautiful,  can  be  pro- 
duced in  the  way  described. 


CHAPTEE  IV. 

PICTURE     SLIDES. 

A  LARGE  number  of  movable  slides,  and  some  others 
of  value,  are  still  painted  entirely  by  hand,  but  the  great 
part  of  simple  slides  now  in  market  are  produced  by 
photography. 

There  are  two  classes  of  photographic  transparencies 
for  the  lantern,  viz.:  instantaneous  and  other  views 
direct  from  nature,  and  reproductions  of  ancient  and 
modern  engravings,  or  paintings.  A  great  part,  espe- 
cially of  the  latter,  are  beautifully  colored  by  skilful 
artists,  and  mounted  in  a  round  form  in  wooden  frames. 


SCIOPTICON    MANUAL.  51 

Some  idea  of  the  value  of  photography,  associated 
with  the  magic  lantern,  as  an  educational  instrument, 
may  be  gathered  from  the  fact  that  as  the  camera  has 
now  penetrated  to  almost  every  habitable  part  of  the 
globe,  the  physical  peculiarities  of  every  country,  to- 
gether with  lifelike  portraits  of  their  inhabitants,  and 
the  form  and  arrangement  of  their  dwellings,  may  be 
obtained  in  miniature,  and  reproduced  as  large  as  life. 

Photographs  of  the  sun  and  moon  in  various  phases, 
and  partially  and  totally  eclipsed,  also  the  fixed  stars 
and  nebulae,  have  been  obtained  and  employed  for  lecture 
illustrations.  Enlarged  photographs  of  microscopic  ob- 
jects have  also  been  obtained,  and  these  again  still  further 
enlarged  to  8  or  10  feet  in  diameter,  so  that,  in  fact,  a 
diatom  no  larger  than  a  grain  of  sand  may  be  shown 
of  such  a  size  in  the  lecture-room  that  a  large  audience 
may  together  examine  its  details  with  perfect  comfort. 
The  productions  of  the  most  celebrated  painters  and 
sculptors  may  be  shown  with  equal  facility,  as  well  as 
maps,  hymns,  music,  &c.,  so  that  an  entire  school  may 
learn  or  sing  together. 

THE  STANDARD  SIZE  FOR  LAXTJBRX  SLIDES. 

The  ordinary  wooden  frame  for  the  lantern  picture  is 
7  inches  long,  4  inches  wide,  and  f  of  an  inch  thick, 
with  a  circular  opening  of  3J  inches  to  admit  the  picture- 
glass  and  its  protecting  glass  cover,  and  3  inches  in  the 
clear.  Pictures  3i  inches  square  are  also  mounted  in 
frames  of  the  same  size,  leaving  3  inches  square  in  the 
clear.  Pictures  3i  inches  square,  with  their  protecting 
glass  covers,  are  also  bound  with  narrow  binding,  and 
may  be  slid  along  into  place  in  the  grooves  of  a  station- 
ary frame,  so  as  to  show  3  inches  square. 


52  SCIOPTICON    MANUAL. 

The  new  Woodbury  slides  are  exactly  quarter  plate 
size  (3i  x  4£),  which  gives  room  at  the  sides  for  naming 
and  for  handling,  and  which  in  turn  gives  assurance  of 
their  being  inserted  in  proper  position. 

Fortunately  each  half  of  a  stereoscopic  view  is  3  inches 
square,  so  that  lantern  slides,  of  standard  size,  can  be 
printed  by  contact  from  stereoscopic  negatives.  Although 
the  demand  for  lantern  slides  has  never  warranted  ex- 
tensive travel  for  desirable  negatives,  yet  the  stereoscope 
has  sent  photographers  "viewing"  high  and  low,  and 
everywhere;  on  the  Alps,  in  the  Yosemite,  in  the  valley 
of  the  Nile,  on  open  Polar  Seas,  and  often  (as  intimated 
by  one  of  their  own  number)  into  distressingly  narrow 
straits. 

Glass  transparencies  made  for  the  stereoscope,  when 
cut  in  two,  with  clear  glass  covers  instead  of  ground- 
glass,  are  extensively  used  for  lantern  slides.  Many  of 
these,  especially  of  the  imported  views,  are  very  fine, 
and  leave  nothing  to  be  desired  when  used  in  the  Sciop- 
ticon.  But  as  a  heavy  deposit  of  silver  is  not  particu- 
larly objectionable  in  the  stereoscope,  many  of  these 
pictures  can  only  be  satisfactorily  shown  upon  the  screen, 
with  an  intense  chemical  light,  if  with  that  even.  When 
the  demand  for  these  fine  views  for  the  lantern  is  suffi- 
cient to  turn  the  attention  of  photographers  to  their 
production,  we  may  look  for  more  good  pictures,  and 
we  hope  at  a  cheaper  rate. 

THE   SEALED    PICTURE. 

A  drop  of  Canada  balsam  between  two  disks  of  plate- 
glass,  on  one  of  which  is  a  beautifully  colored  photo- 
graph, is  skilfully  managed  so  as  to  allow  the  plates  to 
come  almost  in  contact,  with  a  film  of  the  balsam  filling 
all  the  space  between  j  this  makes  the  picture  beautifully 


SOIOPTICON    MANUAL. 


53 


clear,  and  protects  it  from  dust,  and  especially  from  any 
fluid  that  might  accidentally  reach  the  edges  of  the  glass. 
All  the  circular  pictures,  except  the  movables,  at  a  price 
of  over  two  dollars,  are  sealed. 


STATUARY. 


This  class  of  pictures  should  be  photographed  directly 
from  the  statuary,  or  bas-relief,  by  a  skilful  artist,  who 


Fiff.  18. 


understands   lighting   and   how  to    secure   the  proper 
degree  and  gradations  of  shading.     It  appears  to  the 


54  SCIOPTICON    MANUAL. 

best  advantage  when  the  rest  of  the  slide  is  made 
opaque,  so  that  we  may  seem  to  lose  sight  of  the  screen, 
and  see  the  figure  standing  out  in  open  space. 

The  circle,  including  Thorwaldsen's  Night  (Fig.  18), 
shows  the  size  of  the  round  glass,  and  also  the  appear- 
ance of  one  of  the  most  popular  slides  of  this  class. 
A  female  figure  is  seen  floating  down  to  earth;  around 
her  forehead  is  a  wreath  of  poppy,  indicating  sleep;  in 
her  arms  are  two  sleeping  children  (Sleep  and  Death) ; 
and  in  their  company  is  the  symbolic  owl. 

THE    SLIP    SLIDE. 

Pig.  19  represents  a  class  of  movable  slides  most  in 
use  for  amusement;  being  cheap,  easily  operated,  and 
in  shape  to  pack  with  ordinary  slides. 

In  the  slide  represented,  a  peacock  without  a  tail  is 
painted  on  the  immovable  glass,  and  two  tails  are  painted 


on  the  slip.  Both  glasses  are  blackened  except  where 
the  picture  is  to  show;  when  the  slip  is  pushed  in,  the 
bird  appears  with  a  drooping  tail;  when  the  slip  is  drawn 
out,  then  you  will  see  him  spread. 

In  some  of  these  there  is  a  slip  each  side  of  the  fixed 
glass.     In  the  popular  slide  called  the  rat-eater,  a  man 


SCIOPTICON     MANUAL.  55 

reclining  on  a  bed  is  painted  on  the  fixed  glass,  a  lower 
jaw  on  one  slip,  which  works  up  and  down,  and  a  rat 
on  the  other,  which,  as  the  slip  is  drawn,  has  the 
appearance  of  running  down  the  man's  throat.  With 
the  Sciopticon,  the  operator  has  hold  of  a  slip  with  each 
hand,  so  he  can  jerk  the  rat  back  with  a  sudden  move- 
ment of  the  forefinger,  when  he  is  all  ready  to  make  his 
appearance  again  as  a  new  individual.  In  politics  he 
might  be  called  a  "repeater." 

THE    LEVER    SLIDE. 

Fig.  20  represents  another  popular,  but  a  more  expen- 
sive, mechanical  effect.  The  horse  having  approached 
the  water  with  his  head  up,  the  lever  to  the  right  is 
raised,  and  the  horse  is  "made  to  drink"  (the  old  adage 
to  the  contrary  notwithstanding).  The  head  and  neck 


Fig.  »0. 

being  painted  on  the  glass  moved  by  the  lever,  works 
up  and  down  as  on  a  pivot  at  the  shoulders. 

REVOLTING    FIGURES. 

A  movable  disk  corresponding  to  the  one  moved  by 
the  lever  in  Fig.  20,  may  be  revolved  by  means  of  a  rack 
and  pinion;  of  this  class  is  a  variety  of  chromatropes, 


56  SCIOPTICON    MANUAL. 

mill-wheels,  the  movable  astronomical  diagrams,  &c. 
Suppose  a  mill  and  the  surrounding  landscape  painted 
on  the  fixed  disk,  and  the  sails  on  the  disk  revolved  by 
rack  and  pinion,  then  on  turning  the  handle,  the  mill 
appears  in  operation. 

THE    CHROMA/TROPE. 

Fig.  21  represents  the  pulley  form  of  the  chromatrope, 
bnt  can  give  no  idea  of  the  dazzling  brilliancy  of  the 
effects  it  produces  on  the  screen.  There  is  nothing  it 
resembles  so  much  as  the  kaleidoscope,  with  the  addition 
of  constant  motion  and  rapid  change.  It  consists  of  two 
disks  of  glass,  painted  with  an  almost  endless  variety 
of  geometrical  and  other  designs  in  brilliant  colors.  By 
turning  the  handle  shown  in  the  figure,  the  multiplying 
band  causes  the  rapid  revolution  of  one  disk  over  the 
other,  producing  two  apparent  motions;  and  with  good 
designs  the  result  "  beggars  all  description." 


Fig.  91. 

In  another  form  the  motion  is  accomplished  by  means 
of  a  double  rack  and  pinion,  instead  of  a  band.  As 
there  are  two  disks,  revolving  one  over  the  other,  each 
is  necessarily  furnished  with  a  toothed  rack,  and  the 
one  pinion  works  both. 


SCIOPTICON     MANUAL.  67 

THE     EIDOTKOPE. 

This  valuable  accessory  to  the  magic  lantern  consists 
of  two  perforated  metal  disks,  which,  by  an  arrangement 
precisely  similar  to  the  chromatrope,  are  made  to  re- 
volve one  over  the  other.  The  effects  are  so  beautiful 
as  to  excite  surprise  that  they  should  be  obtained  by  a 
mechanical  contrivance  of  such  extreme  simplicity.  By 
slow  revolution,  hexagonal,  octagonal,  and  other  geo- 
metrical figures  are  obtained,  with  delicate  gradations 
of  shadow;  while  a  more  accelerated  motion  produces 
the  effect  of  stellate  flashings,  or  scintillations  of  light. 
Color  may  be  imparted  by  the  use  of  tinted  films  of 
gelatine.  Larger  disks  can  be  pivoted  to  a  frame  above 
the  condenser  so  as  to  give  an  upward  and  outward 
movement  to  the  scintillations  as  from  a  lower  fountain. 
Stiff  paper  disks  turned  contrary  ways  by  the  hands  at 
their  edges  will  answer  for  practical  experiments. 

MOVING    WATERS. 

Under  this  title  two  forms  of  slides  are  sold;  by  means 
of  which,  in  a  single  or  double  lantern,  very  pleasing 
effects  may  be  produced.  In  the  simplest  form  a  moon- 
light scene  is  painted  on  a  fixed  disk,  and  the  "  rippling 
waters"  on  a  piece  of  glass  attached  by  one  corner  only 
to  the  framework  of  the  slide,  which  being  moved  up 
and  down  causes  the  appearance  of  a  ripple  on  the  water. 

Another  more  expensive,  but  more  truthful  effect,  is 
produced  by  a  slide  having. two  movable  and  one  fixed 
disk  of  glass,  and  known  as  the  "  moving  water  with 
eccentric  motion."  In  this  slide,  not  only  is  the  ripple 
produced,  but  the  heaving  of  a  boat  upon  the  waves,  the 
"rolling  "  of  the  sea,  and  the  "  hovering "  motion  of  birds 
is  imitated  with  surprising  closeness  to  nature. 

5 


58  SCIOPTICON     MANUAL. 


LONG    SLIDES. 

A  very  largo  class  of  paintings,  on  strips  of  glass  12 
or  14  inches  long,  have  come  down  to  us  from  a  former 
generation.  Many  of  them  hardly  deserve  attention, 
but  some  Nursery  Tales,  Natural  History,  &c.,  are  fair, 
and  the  Astronomical  set,  in  particular,  is  excellent. 


Fig.  22. 

This  set  of  ten  astronomical  slides,  with  forty-one 
illustrations,  together  with  a  set  of  astronomical  dia- 
grams with  rack-work  motion,  makes  a  very  complete 
outfit  for  a  series  of  astronomical  lectures. 

DIORAMIC  PAINTINGS  WITH  MOVING   FIGURES. 

In  the  middle  of  a  glass  strip  (shaped  and  framed  tn  in 
Fig.  22),  a  scene  is  painted,  the  rest  being  made  opaque. 
Another  glass  strip,  of  similar  size  and  shape,  on  which 
is  painted  along  its  whole  length  whatever  is  befitting, 
as  figures,  boats,  &c.,  is  made  to  pass  in  front  in  grooves, 
so  as  to  represent  a  long  procession;  of  this  class,  the 
children  of  Israel  passing  through  the  Red  Sea  is  an  ex- 
ample ;  or,  the  enterprising  smugglers  secreting  contra- 
band goods  in  the  smugglers'  cave. 

THE  GHOST. 

A  description  of  the  modern  "ghost"  may  be  looked 
for  here,,  but  it  is  not  strictly  a  magic  lantern  production. 


SCIOPTICONMANUAL.  59 

A  large  plate  of  glass  leans  forward  on  the  front  of  the 
stage,  but  its  edges  are  so  hidden  by  the  curtains  that  its 
presence  is  not  suspected.  A  "woman  in  white"  stands 
down  in  front,  concealed  from  the  spectators  by  the  usual 
board  near  the  orchestra,  and  is  highly  illuminated  by 
the  light  from  a  magic  lantern.  The  spectators,  in  the 
darkness  and  distance,  see  the  actors  upon  the  stage 
through  the  glass,  and  also  the  ghost  reflected  from  the 
glass  so  as  to  appear  on  the  stage  with  the  rest.  The 
actors  do  not  see  the  spectre,  but  they  put  on  the  ap- 
pearance of  fright  for  the  benefit  of  the  spectators. 

The  apparition  vanishes  as  the  light  is  withdrawn  from 
"  the  woman  in  white."  The  lantern  is  used  because  it 
illuminates  an  object  without  diffusing  light  in  other 
directions. 

On  this  principle  we  may  see  people  in  a  room  through 
a  window,  with  the  reflected  images  of  parties  outside 
standing  among  them.  It  seems  not  a  little  surprising 
to  sec  one  person  cutting  through  the  space  occupied  by 
another. 

THE    TANK. 

An  excellent  and  cheap  tank  (similar  to  the  one  shown 
in  Fig.  26),  but  with  permanent  clamps  without  screws, 
is  now  shaped  so  us  to  slide  into  the  Sciopticon  stage 
without  drawing  forward  the  extension  front.  As  the 
space  at  the  top  is  unobstructed,  all  sorts  of  experiments 
with  it  are  easily  managed.  Living  creatures  encaged 
in  it,  in  air  or  water,  tigure  upon  the  screen  in  huge  pro- 
portions, and  with  wonderful  activity.  Some  fish  and 
parts  of  many  insects  are  so  transparent  as  to  show  in- 
ternal structure.  Even  opaque  objects,  when  their  out- 
lines arc  sharply  focused,  appear  in  relief  unlike  a  mere 
-Jiadow.  With  almost  every  object  thus  shown,  except 


60  SCIOPTICON    MANUAL. 

fish,  up  and  down  is  a  matter  of  indifference;  so  that 
inversion  is  no  disadvantage.  "With  this  tank  for  the 
exhibition  of  living  objects,  chemical  reactions,  &c.,  a 
large  assortment  of  slides  is  less  of  a  necessity. 


PRECAUTIONS  ABOUT 

The  lantern  exhibition  has  to  be  conducted  in  so  ob- 
scure a  light  that  the  operator  has  to  depend  more  on 
the  sense  of  feeling  than  sight;  it  is  therefore  important 
that  the  slides  should  be  in  good  condition  and  properly 
arranged  beforehand,  and  that  their  titles  and  descrip- 
tions should  be  well  fixed  in  memory, 

A  convenient  box  for  carrying  the  slides,  for  arrang- 
ing them  in,  and  for  showing  them  from,  is  constructed 
as  follows.'  Two  boxes  of  any  desirable  length,  7J  inches 
wide  and  4|  inches  deep,  are  hinged  together,  so  that 
each  serves  as  a  cover  to  the  other.  This  double  box 
will  hold  the  ordinary  wooden  mounted  slides  without 
waste  of  room,  and  when  open  will  show  their  labelled 
edges  in  proper  position  and  order. 

In  social  gatherings,  the  exhibitor  is  often  urged  to 
bring  out  certain  favorite  pictures  on  call,  which,  in  the 
hurry  and  darkness,  is  apt  to  disarrange  the  slides,  so 
as  to  perplex  the  operator,  and  mar  the  beauty  of  the 
entertainment. 

With  careful  management  the  box  may  close  on  prop- 
erly arranged  slides,  at  the  close  of  the  exhibition. 


SCIOPTICON     MANUAL. 


CHAPTER  Y. 


GLASS    POSITIVES    FOR    THE    MAGIC    LANTERN, 

BY  JOHN  C.  BROWNJC. 

FEW  entertainments  for  the  amusement  of  children, 
as  well  as  persons  of  ntature  years,  give  more  real  pleas- 
ure than  exhibitions  of  the  magic  lantern.  It  is  a  never- 
ending  source  of  pleasure,  and  doubly  valuable  to  the 
disciple  of  photography,  who  by  the  aid  of  a  few  chem- 
icals and  very  simple  apparatus,  can  prepare  interesting 
slides  of  local  interest  that  will  delight  the  home  circle, 
and  fully  repay  the  small  expenditure  of  time  required 
for  their  manufacture.  Every  photographer  has  among 
his  negatives  many  subjects,  both  portrait  and  landscape, 
that  when  printed  upon  glass  will  prove  effective  pic- 
tures for  exhibition. 

The  object  of  this  paper  is  to  give  in  as  few  words  as 
possible,  plain  directions  for  making  positives  on  glass, 
suitable  for  the  magic  lantern. 

Either  the  wet  or  dry  process  can  be  used.  The  for- 
mer is  more  applicable  in  cases  where  it  is  necessary  to 
reduce  a  negative  to  the  proper  sized  positive  required 
for  the  lantern.  The  dry  method  is  used  to  advantage 
when  the  negative  is  of  small  size,  and  can  be  printed  in 
contact.  As  all  photographers  are  familiar  with  wet 
manipulations,  we  will  consider  that  process  first. 

The  only  apparatus  actually  required,  is  an  ordinary 
camera  and  lens,  placed  upon  a  board  six  feet  long,  in 
front  of  which  a  negative  is  fastened.  This  negative  is 
simply  copied  upon  a  sensitive  collodion  plate,  that  is 


62  SCIOPTICON    MANUAL. 

exposed  in  the  camera,  carried  into  the  dark-room,  and 
developed,  fixed,  and  toned. 

If  many  positives  are  to  be  made  from  negatives  of 
different  sizes,  it  will  be  found  convenient  to  arrange 
two  cameras  front  to  front  (as  will  be  seen  in  Fig.  23), 


.  23. 


one  camera  having  a  lens  in  position  with  ground-glass 
No.  1  ;  the  other  having  the  lens  and  ground-glass  re- 
moved, and  the  negative  that  is  to  be  copied  placed  in 
the  position  of  ground-glass  No.  3.  The  cameras,  for 
convenience,  can  be  closely  joined  together  by  screwing 
strips  of  wood  upon  each,  which  prevents  any  change 
of  position  when  focused.  By  turning  the  rack-work 
upon  each  box,  the  picture  upon  the  ground-glass  can  be 
made  of  any  size. 

This  plan  of  using  two  boxes  will  be  found  to  give 
perfect  satisfaction;  the  negative  and  sensitive  plates 
are  always  on  the  same  plane,  and  the  adjustment  for 
difference  of  size  made  in  a  moment.  It  is  only  for 
convenience  of  manipulation,  that  the  writer  advocates 
this  arrangement,  for  excellent  positives  can  be  obtained 
by  using  one  camera,  and  placing  the  negative  to  be 


SCIOPTICON     MANUAL.  63 

copied  in  proper  position  in  front  of  the  lens,  with  noth- 
ing to  shut  off  the  diffused  light  between  the  lens  and 
negative. 

In  selecting  a  position  for  operations,  a  north  light 
will  be  found  the  best  suited  for  the  purpose.  The 
upper  window  sash  should  be  lowered,  and  the  board 
upon  which  the  cameras  are  arranged  rested  one  end 
upon  a  table,  the  other  upon  the  lowered  sash,  so  that 
the  negative  will  have  the  sky  for  a  background.  This 
is  easily  determined  by  focusing  upon  the  ground-glass. 
It  is  advisable  not  to  allow  the  direct  rays  of  the  sun  to 
illuminate  the  negative.  Should  a  north  light  not  be 
obtainable,  cover  a  frame  with  white  tissue-paper,  and 
let  that  be  the  background  for  the  negative.  The  tis- 
sue-paper can  be  illuminated  with  the  sun's  rays,  or  by 
any  artificial  light. 

It  may  seem  to  the  reading  photographer,  unneces- 
sary to  burden  this  article  with  a  complete  chemical 
formula  for  making  glass  positives,  but  as  it  is  prepared 
expressly  for  the  uninitiated,  it  would  be  unintelligible 
without  a  formula. 

To  make  8-02.  Sensitive  Collodion. — Alcohol  5  oz.,  ether 
3  oz.,  iodide  of  ammonium  44  grs.,  bromide  of  magnesi- 
um 20  grs.,  cotton  (Parys')  35  grs.  Before  using,  filter 
several  times  through  cotton  soaked  in  alcohol.  It  is  a 
good  plan  to  keep  a  supply  of  plain,  unexcited  collodion 
on  hand,  as  a  stock-bottle;  also,  a  bottle  of  exciting  solu- 
tion, made  in  the  proportion  of  iodide  of  ammonium  5 
grains,  bromide  of  ammonium  2£  grains,  to  the  drachm 
of  alcohol.  By  adding  1  drachm  of  the  solution  to  1 
ounce  of  plain  collodion,  it  will  be  excited  to  the  proper 
condition. 

Nitrate  Solution. — Water  1  ounce,  nitrate  of  silver  40 
grains;  make  slightly  acid  with  nitric  acid,  C.  P.  Iodize 


64  CCIOPTICON    MANUAL. 

the  solution  by  allowing  a  plate  coated  with  excited  col- 
lodion to  remain  in  it  over  night.     Filter. 

Developing  Solution. — Make  a  saturated  solution  of 
ammonia,  sulphate  of  iron  (in  water);  filter.  To  every 
ounce  of  this  solution  add  glacial  acetic  acid,  1  drachm. 
This  can  be  used  as  a  stock  solution,  and  will  keep  an 
indefinite  length  of  time  in  good  condition.  Crystals 
will  form  in  the  stock-bottle,  after  standing  some  hours, 
but  that  is  of  no  consequence,  as  the  strength  of  the 
solution  is  correct. 

In  developing  a  plate,  use  5  drachms  of  water  to  2 
drachms  of  ammonio-sulphate  of  iron  from  the  stock- 
bottle.  During  hot  weather  use  ice-water  to  retard  the 
action  of  the  developer. 

Fixing  Solution. — Cyanide  of  potassium  or  hyposul- 
phite of  soda;  either  will  answer,  but  the  action  of 
cyanide  appears  to  make  a  somewhat  brighter  picture. 

These  solutions  being  carefully  prepared,  the  picture 
accurately  focused,  the  negative  (collodion  side  towards 
the  lens)  covered  with  a  dark  cloth,  prepare  the  plate 
in  the  dark-room  in  the  usual  manner,  place  it  in  the 
dark-holder,  in  the  position  of  the  ground-glass,  draw 
the  slide  (the  lens  is  always  uncovered),  remove  the 
cloth  from  the  negative  for  a  few  seconds.  The  expo- 
sure will  then  be  made.  Cover  the  negative,  shut  the 
slide,  and  remove  to  the  dark-room  for  development. 
The  picture  should  appear  slowly;  not  flash  out  upon 
the  first  application  of  the  iron  solution.  Over-expos- 
ure, as  well  as  over-development,  are  both  fatal  to  trans- 
parencies. No  trace  of  fog  should  be  visible.  From 
five  to  fifteen  seconds  will  be  found  sufficient,  on  a  bright 
day,  with  a  negative  of  ordinary  strength,  and  the 
chomicals  in  good  order. 

The  Negative — Must  be  sharp,  of  good  printing  densi- 


SCIOPTICON     MANUAL.  65 

ty,  and  as  free  as  possible  from  all  defects.  As  the 
magic  lantern  slide  is  generally  3J  x  3J,  it  is  not  desir- 
able to  employ  a  very  large  negative.  6£  x  8£  will 
answer  the  purpose  better  tban  a  larger  size.  But  neg- 
atives upon  smaller  glass  will  be  found  to  give  even  finer 
results.  On  the  other  hand,  it  is  very  bad  policy  to 
attempt  to  enlarge  a  positive  to  double  or  treble  the 
size  of  the  original  negative.  The  negative  should  not 
be  smaller  than  the  positive. 

The  Lens. — Any  good  portrait  combination,  of  six  to 
eight  inches  focus,  quarter-inch  stop,  will  work  to  ad- 
vantage. Lenses  of  very  short  focus  and  very  small 
opening,  are  not  recommended. 

The  Development — Should  be  conducted  with  great 
care  and  judgment,  as  it  is  the  most  important  part  of 
the  whole  process.  Rather  underexpose  and  underde- 
velop,  and  as  soon  as  the  detail  is  visible,  flood  the  plate 
with  water,  and  check  further  action.  Avoid  an  excess 
of  light  during  development,  and  dread  the  appearance 
of  the  slightest  fogging  as  the  worst  enemy  to  be  en- 
countered. 

Fixing  Solution. — Cyanide  of  potassium,  after  which 
wash  well  in  running  water. 

Toning. — It  is  frequently  of  benefit  to  the  positive  that 
it  should  be  toned,  and  at  the  same  time  slightly  strength- 
ened, to  give  contrast  to  the  picture  when  projected  upon 
the  screen  by  a  powerful  light.  Many  chemical  solutions 
may  be  used  to  accomplish  this  purpose.  A  weak  solu- 
tion of  gold  gives  good  results;  also,  a  dilute  solution  of 
bichloride  of  palladium  can  be  recommended.  In  either 
case  the  solution  is  flowed  over  the  plate,  after  fixing. 
The  positive  is  then  dried  and  varnished. 

The  Finished  Picture — Should  be  free  from  the  slight- 
est appearance  of  fog;  the  high-lights,  the  sky  in  land- 


66  SCIOPTICON    MANUAL. 

scapes  (except  when  clouds  are  present),  perfectly  clear 
glass.  The  particular  tone  requisite  to  suit  the  positive, 
is  a  matter  of  taste.  A  warm  sepia  will  be  found  suit- 
able for  most  transparencies;  but  each  operator  must 
exercise  his  own  peculiar  feeling  in  this  matter. 

In  making  positives  to  be  exhibited  by  the  magic  lan- 
tern, it  is  well  to  consider  the  variety  of  light  to  be  used 
in  projecting  the  picture  upon  the  screen.  Where  pow- 
erful illumination,  such  as  the  oxy-hydrogen  or  magne- 
sium lights  are  used,  positives  may  be  made  slightly 
stronger,  showing  more  contrast  than  where  a  weaker 
form  of  illumination  is  employed. 

The  slides  should  be  protected  from  scratches  and 
dust,  by  a  piece  of  clear  glass  of  the  same  size,  neatly 
pasted  on  the  edges  with  muslin. 

Positives  on  glass  can  also  be  made  by  the  wet  pro- 
cess, from  negatives  of  the  proper  size,  by  pasting  a  thin 
strip  of  cardboard  upon  two  edges  of  the  negative  (col- 
lodion side).  The  sensitive  plate  is  prepared  as  usual, 
and  is  placed,  while  in  the  dark-room,  in  close  contact 
with  the  negative,  separated  only  by  the  cardboard.  It 
is  then  exposed  behind  the  negative,  to  diffused  sunlight 
or  artificial  light,  for  a  few  seconds,  returned  to  the  dark- 
room, and  developed.  This  plan  admits  of  no  change 
in  the  size  of  'the  negative.  Mr.  L.  J.  Marey's  appara- 
tus for  printing  wet  plates  by  lamp-light,  has  given  sat- 
isfaction to  many  who  have  not  an  opportunity  of  mak- 
ing experiments  by  daylight. 

The  proper  size  for  glass  pictures  to  be  used  in  lan- 
terns of  convenient  proportions,  is  a  debatable  subject. 
Glasses  of  3J  x  3J  being  generally  used,  but  advantages 
are  claimed  for  a  slide  3J  x  4J,  that  have  some  weight. 
In  placing  this  slide  in  the  lantern,  the  additional  length 
of  the  glass  allows  the  corners  to  be  held  by  the  thumb 


SCIOPTICON     MANUAL.  G7 

and  forefinger,  without  being  visible  upon  the  screen, 
as  is  sometimes  the  case  with  the  square  slide.  Then 
again,  it  is  easier  to  place  in  its  proper  position  (right 
side  up),  having  only  one  chance  of  error  instead  of 
three. 

A   WRY    PLATE   PROCESS   FOR    LANTERN    SLIDES. 

TANNO-OALLIC    PRESERVATIVE.* 

In  considering  the  dry  process,  it  is  but  proper  to 
say  that  a  large  number  of  different  formulas  have  been 
published;  in  fact,  scarcely  half  a  dozen  photographer;; 
think  alike  on  this  subject.  It  is,  therefore,  impossible 
to  give  a  formula  that  will  give  universal  satisfaction. 
In  preparing  this  paper  for  publication,  it  must  be  dis- 
tinctly understood  that  nothing  new  in  the  way  of  pre- 
servative or  development  is  claimed;  it  is  simply  one  of 
the  many  methods  for  preparing  dry  plates  that  has 
given  reliable  results. 

The  dry-plate  photographer  must  bo  prepared  for 
many  and  great  failures,  and  be  possessed  of  the  greatest 
amount  of  patience  and  nicety  of  manipulation,  for  other- 
wise time  is  wasted,  and  the  best  process  voted  a  failure. 
Commence  with  reliable  chemicals,  and  follow  up  the 
process  with  a  lavish  expenditure  of  water  when  wash- 
ing is  mentioned,  not  only  on  the  collodion  plate,  but 
thoroughly  rinse  the  various  glasses  and  dishes,  and 
particularly  the  fingers,  between  each  operation.  Use 
as  little  light  as  possible  when  making  or  developing 
dry  plates,  and  be  careful  that  the  light  is  yellow. 

Probably  more  dry  plates  are  ruined,  and  the  par- 
ticular process  used  condemned  as  worthless,  by  the  use 

*  I  am  greatly  indebted  to  my  friend,  Mr.  E.  Wallace,  Jr.,  for  his  kindness 
in  furnishing  me  with  the  formula,  and  showing,  by  his  own  experiments,  the 
valuable  results  to  be  obtained  from  this  process.  J.  G.  BROWNE. 


68  SCIOPTICON     MANUAL. 

of  white  light  than  from  any  other  cause.  A  square- 
sided  lantern,  having  the  white  glass  removed,  and  yel- 
low substituted,  will  be  found  very  convenient;  cither 
gas,  a  candle,  or  kerosene  can  be  used  for  illumination. 

To  prevent  the  collodion  film  slipping  from  the  plate 
during  the  process,  it  is  absolutely  necessary  that  the 
glass  plate  should  be  albumenized.  Wash  the  glass 
(having  previously  roughened  the  edges),  drain,  and 
while  wet  flow  over  it  the  following  solution : 

Albumen  (the  white  of  an  egg),     ....     1  egg. 

Water, 1  pint. 

Concentrated  Ammonia,    .......  10  drops. 

Put  the  albumen  in  a  clean  bottle,  then  add  the  water. 
Shake  a  little,  and  add  the  ammonia;  filter  through  a 
sponge ;  dry  in  a  rack. 

COLLODION. 

Any  reliable  collodion  will  answer;  it  is  best  to  have 
it  quite  thick.  'No  backing  is  necessary. 

NEGATIVE   BATH. 

Nitrate  of  Silver, 45  grains. 

Water, 1  ounce. 

Made  slightly  acid  with  nitric  acid,  C.P.  Dip  the 
collodionized  plate  in  the  bath,  and  when  properly  ex- 
cited, remove  the  plate,  and  dip  in  a  bath  of  pure  water  ; 
then  wash  under  a  tap  with  running  water.  "While  wet 
apply  the 

PRESERVATIVE   SOLUTION. 

Tannin, 10  grains. 

Gum  Arabic, 6       " 

Sugar, 4       « 

Water, 1  ounce. 

Filter,  and  add  one  drachm  per  ounce  of 

Gallic  Acid, 24  grains. 

Alcohol, 1  ounce. 


SCIOPTICON     MANUAL.  69 

The  preservative  must  be  fresh.  Three  ounces  of  this 
mixture  will  prepare  half  a  dozen  6£x8£  plates. 

If  the  preservative  is  poured  over  the  plate,  apply 
twice,  working  it  well  into  the  film;  throw  the  first  dose 
away,  and  use  the  second  flowing  for  the  first  applica- 
tion to  the  next  plate. 

The  plates  must  be  carefully  dried,  either  by  natural 
or  by  artificial  heat.;  a  hot-water  bottle  will  be  found 
useful  for  that  purpose  should  artificial  heat  be  thought 
best. 

THE    EXPOSURE 

Will  depend  upon  the  strength  of  the  negative,  and 
the  nature  of  the  light;  a  few  seconds  will  generally  be 
enough.  Close  contact  is  absolutely  required  to  produce 
sharp  positives.  An  ordinary  printing-frame  can  be 
used. 


TO  DEVELOP 


In  a  dark-room,  remove  the  dry  plate  from  the  frame, 
place  it  in  a  dish,  and  flow  over  it 


Alcohol 


coo,       ........     .  i 

Water,    ...........      }  equal  parts. 

Then  wash  in  running  water. 

DEVELOPING   SOLUTIONS. 

Pyrogallic  Acid,     .........     2  grains. 

Water,       ............     1  ounce. 

Made  from  a  stock-bottle  of 

Alcohol,    ............     1  ounce. 

Pyrogallic  Acid,     .........  96  grains. 

Five  minims  of  this  solutions  contains  one  grain  of 
pyro. 


70  SCIOPTICON     MANUAL. 

ALKALINE    SOLUTIONS. 

Carbonate  of  Ammonia, 64  grains. 

"Water, 1  ounce. 

Bromide  of  Potassium, 4  grains. 

"Water, 1  ounce. 

Mix  together. 

After  the  plate  is  well  washed,  flow  over  it  a  solu- 
tion of 

Pyrogallic  Acid, 2  grains. 

Water, 1  ounce. 

Then  pour  back  again  into  the  measure.  Should  the 
image  be  developed  by  this  solution,  proceed  very  cau- 
tiously, and  add  a  few  drops  of  the  alkaline  solution  of 
carbonate  of  ammonia  and  bromide  of  potassium.  If 
the  picture  comes  out  slowly,  add  more  of  the  alkaline 
solution  up  to  thirty  drops,  if  necessary,  and  also  a  suf- 
ficient amount  of  stronger  pyro  to  bring  out  all  the 
detail.  When  the  image  is  out,  wash  with  water,  and 
intensify  with 

Pyrogallic  Acid, 2  grains. 

Water, 1  ounce. 

To  which  is  added  ten  drops  of  citric  acid  and  nitrate 
of  silver  solution. 

Citric  Acid, 30  grains. 

Nitrate  of  Silver, 20      " 

Water, 1  ounce. 

This  is  a  stock-bottle.  Mix  in  separate  glasses ;  add 
together  and  filter;  wash. 

FIXING   SOLUTION. 

Hyposulphite  of  soda. 

TONING  SOLUTION. 

The  same  remarks  applied  to  wet  positives  will  answer 
for  toning  dry  plates. 


SCIOPTICON     MANUAL.  71 

THE    COLLODIO-CHXORIDE    PROCESS. 

(From  Humphrey's  Journal.) 

The  following  formula  is  not  only  used  for  opal  pic- 
tures, but  to  some  extent  for  transparencies  also. 

1.  Take  the  whites  of  two  eggs  and  two  ounces  of 
water,  beat  well  to  a  froth,  and  let  it  settle  for  two  hours 
and  pour  off  the  clear  solution. 

2.  Coat  your  white  plate  with  this  solution  (as  you 
would  with  collodion),  and   set  away  to  dry.     "When 
dry  take  in  your  dark-room  and  coat  the  plate  with 
the  "  opal  solution,"  which  is  made  thus: 

Plain  collodion  8  oz.  (thinner  than  you  would  use  for 
iodizing),  then  dissolve  in  as  little  water  as  possible  60 
grains  nitrate  of  silver,  and  add  this  to  the  collodion  and 
shake  well.  Then  dissolve  16  grains  of  strontium  in  as 
little  water  as  possible,  and  add  this  to  the  collodion  and 
shake  well.  Then  dissolve  10  grains  citric  acid  in  as 
little  water  as  possible,  and  add  to  the  collodion.  Shake 
well,  and  you  have  the  opal  solution. 

"When  dry,  put  your  negative  in  the  printing-frame, 
lay  the  opal-prepared  plate  on  the  negative,  and  print 
from  10  to  15  minutes  in  the  sun,  and  print  much  darker 
than  you  would  a  photograph. 

Tone  and  fix  as  you  would  a  photograph,  only  you 
need  not  wash  before  toning — and  wash  but  little  before 
fixing.  The  "opals"  tone  in  one-tenth  the  time  of  a 
photograph. 

Keep  the  opal  preparation  in  a  dark-room.  Have  your 
toning  bath  a  little  alkaline,  and  not  as  strong  as  for 
toning  photographs. 


72 


SCIOPTICON     MANUAL. 


MARCT'S  PHOTOGRAPHIC  PRINTING  APPARATUS  FO* 
PRINTING  WET  PLATEN  BY  LAMPLIGHT. 

This  apparatus  is  intended  to  simplify  the  process  of 
printing  lantern  transparencies.  Its  rationale  will  be 
seen  at  a  glance. 

Sharp  photographic  printing  without  a  camera,  can  be 
effected,  either  by  having  the  negative  in  actual  contact 
with  the  sensitive  plate,  however  widespread  the  light,  or 
else  by  having  an  intense  light  proceeding  from  a  single  point, 
though  the  plates  may  be  wide  apart.  In  the  latter  case 
the  point  of  light  should  be  distant  compared  with  the 
space  between  the  plates,  to  avoid  enlargement.  A 
sharpness  above  criticism  is  produced  by  this  printing 
apparatus,  not  by  an  absolute  compliance  with  either 
condition,  but  by  an  approximate  observance  of  both. 


Fig.  24. 

It  consists  of  an  upright  frame  in  which  the  sensitive 
plate  is  held  slightly  separate  from  the  negative,  and  a 
coal  oil  lamp,  from  which  the  light  of  a  wide  flat  flame 
is  emitted  through  a  narrow  horizontal  slit — small  and 
at  considerable  distance  from  the  frame  to  produce  a 
sharp  print,  and  in  range  with  the  long  diameter  of  the 


SCIOPTICON    MANUAL.  73 

flame  to  get  intensity  from  a  single  point.  A  narrow 
strip  of  glass  sets  into  this  slit  as  between  two  lips.  The 
thickness  of  the  flame  gives  the  horizontal  diameter  of 
the  point  of  light.  Only  the  front  of  the  lamp  is  shown 
at  the  right  of  Fig.  24,  hut  it  can  be  seen  how  the  light 
from  the  whole  width  of  the  flame  reaches  the  printing- 
frame  through  the  narrow  aperture. 

At  the  left,  we  see  how  the  negative  is  held  over  the 
opening  in  the  frame  by  four  springs ;  the  long  spring 
on  the  opposite  side  holds  the  sensitive  plate  in  the 
frame. 

The  operator,  standing  on  the  opposite  side,  with  the 
upper  corners  of  a  quarter  plate,  just  from  the  bath, 
between  his  thumb  and  finger,  and  shading  off  direct 
rays  with  his  left  hand,  places  it  in  its  silver  bearings  j 
this  brings  the  two  films  almost  in  contact. 

The  lamp  and  frame  stand  from  16  to  26  inches  apart, 
or  so  far  as  to  require  about  two  minutes  for  the  print- 
ing, or  the  time  it  takes  for  a  round  of  the  other  manipu- 
lations and  changes;  so  a  picture  is  finished  and  dropped 
into  grooves  in  a  trough  of  water  as  often  as  one  has 
had  time  to  print. 

All  that  is  said  in  the  previous  article  on  the  wet- 
plate  process,  in  regard  to  development,  &c.,  applies 
here.  Any  drops  of  silver  bath  that  may  have  come  in 
contact  with  the  negative  must  be  washed  off  before  it 
is  put  away. 

Like  dry-plate  printing,  the  negative  must  be  of  the 
exact  size  required  for  the  lantern  slide. 

Some  of  the  advantages  of  this  method  are : 

1.  It  can  be  practiced  evenings  or  in  cloudy  weather. 

2.  The  light  is  inexpensive. 

3.  Plate  glass  is  not  a  necessity. 

6 


74  SCIOPTICON    MANUAL. 

4.  The   apparatus   may   stand   within   reach   of  the 
operator. 

5.  It   requires   no   previous   preparation    more   than 
having   clean   glass,    and   chemicals   in   good   working 
order. 

6.  The  albumen  coating  is  not  required  to  make  the 
film  adhere. 

7.  The  amount  of  exposure  can  be  definitely  gauged. 

8.  The  illumination  is  confined  to  a  narrow  cone,  so 
as  not  to  fog  the  picture  by  diffused  light. 

9.  The  exposure  is  so  immediate  and  uniform  as  to 
escape  many  accidents. 

10.  It  is  so  easily  done,  that  many  causes  of  failure 
involved  in  a  long  process  are  not  encountered. 

11.  The  negative  is  not  marred  by  use  as  in  contact- 
printing. 

12.  This  apparatus  complete  costs  but  seven  dollars. 

Thus  we  have  in  it  advantages  by  the  dozen. 

THE    SCIOPTICON    PROCESS. 

By  placing  the  Sciopticon  near  a  wall,  in  a  dark  room, 
and  drawing  forward  its  extension  front,  an  image  of  a 
negative  may  be  projected  into  a  three-inch  circle.  First 
focus  sharply  on  a  paper-covered  glass,  and  then  expose 
a  wet  plate  in  the  same  place  a  minute,  more  or  less, 
developing  and  fixing  as  usual,  and  we  have  a  glass  posi- 
tive photographed  by  the  Sciopticon  for  the  Sciopticon. 

The  objective  is  always  used  with  full  opening,  because 
all  the  light  is  needed,  and  because  it  will  not  give  an 
evenly  illuminated  disk  with  a  small  stop;  so  we  cannot 
secure  perfect  sharpness  to  the  very  edges.  It  answers 
well,  however,  for  central  figures,  and  the  photographer 
can  easily  produce  unexceptionable  positives  from  his 


SCIOPTICON    MANUAL.  75 

portrait  negatives.  There  seems  no  reason  why  enlarge- 
ments made  in  this  way,  for  ornamental  transparencies, 
to  be  hung  in  the  window,  or  set  in  a  frame,  should  not 
become  a  profitable  branch  of  photography. 

The  toning  of  glass  positives,  to  be  used  for  orna- 
mental purposes,  involves  some  thought  as  to  the  par- 
ticular color,  or  shade  of  color,  that  will  suit  the  picture 
best;  and  it  is  impossible  to  give  one  process  that  will 
suit  all  tastes  alike;  some  having  a  preference  for  black 
tones,  others  for  blue-black,  brown,  or  the  various  shades 
of  gray.  A  detailed  description  of  the  manner  of  pro- 
ducing these  various  tones  would  require  too  much  space, 
and  is  so  simple  that  no  one  can  go  astray. 

The  principal  chemicals  required  are :  Chloride  of 
gold,  bichloride  of  platinum,  bichloride  of  palladium, 
sulphide  of  potassium,  and  permanganate  of  potassium; 
in  all  cases  use  singly  and  very  dilute.  I  am  disposed 
to  consider  chloride  of  palladium  as  the  most  reliable 
chemical  that  has  come  under  my  notice.  Its  action  is 
perfectly  manageable,  easy  to  prepare,  will  not  stain, 
and  gives  uniformly  good  results.  The  toning  solution 
that  I  use  is  made  as  follows :  Add  six  drops  from  the 
stock-bottle  of  chloride  of  palladium  to  each  ounce  of 
water;  this  solution  should  be  of  a  delicate  straw  color. 
No  other  manipulation  is  required.  After  the  plate  has 
been  developed  and  fixed,  wash  as  usual,  then  apply  the 
toning  solution  by  flowing  it  over  the  plate  similarly  to 
the  developer.  Its  action  will  be  quick,  giving  a  black 
tone  to  the  positive.  Wash  well,  dry,  and  varnish  if 
desirable. 

Thcso  transparencies  are  covered  and  bound  with  an 
opal  or  ground-glass,  or  they  may  be  flowed  with  a  var- 
nish containing  a  little  fine  zinc  paint,  ground  in  varnish. 

It  may  bo  mentioned  in  this  connection,  that  artists 


76  SCIOPTICON    MANUAL. 

find  the  Sciopticon  very  useful  in  sketching  their  pictures. 
Having  first  obtained  a  glass  positive  or  negative  of 
the  subject  to  be  painted,  it  can  be  thrown  upon  the 
canvas  of  the  size  desired,  and  expeditiously  and  accu- 
rately traced.  It  saves  valuable  time  to  the  good  artist, 
and  it  prevents  the  poor  artist  from  producing  distor- 
tions. 


WOODBURT   PHOTO-RELIEF    EXCELSIOR    LANTERN 
SLIDES. 

By  JOHN  C.  BROWNE. 

While  it  is  a  comparatively  easy  matter  to  produce 
fine  positives  by  either  the  wet  or  dry  process  of  pho- 
tography, yet  the  results  are  liable  to  vary  somewhat 
even  in  the  hands  of  the  most  careful  manipulator.  The 
Woodbury  photo-relief  process,  as  now  worked  in  Phila- 
delphia, has  the  merit  of  distancing  all  competition  in 
the  uniform  excellence  of  its  lantern  slides.  It  would 
be  a  pleasure  to  give  in  detail  a  description  of  this  won- 
derful process,  did  space  permit,  commencing  with  the 
sensitive  gelatine  tissue,  resembling  in  appearance  a 
piece  of  patent  leather,  and  following  it  in  its  exposure 
to  light  under  a  negative,  the  light's  action  rendering 
insoluble  those  parts  reached  through  the  negative;  its 
subsequent  immersion  in  hot  water  dissolves  out  those 
parts  not  rendered  insoluble,  producing  a  relief  as  thin 
as  writing  paper,  which  when  dry  is  pressed  into  a  piece 
of  soft  metal  by  a  hydraulic  press  of  fabulous  power, 
forcing  this  delicate  substance  into  the  smooth  metal, 
and  leaving  upon  its  surface  a  counterpart  or  mould  of 
all  its  finest  lines  and  half  tones.  Strange  to  say  this 
flimsy  gelatine  relief  is  not  crushed  to  atoms  by  this 


SCIOPTICON    MANUAL.  77 

treatment.  It  is  not  damaged  in  the  least,  but  ready 
to  make  its  mark  again  as  often  as  it  is  necessary. 

This  leaden  mould  is  the  typo  that  prints  the  picture, 
a  solution  of  gelatine  and  India-ink  being  poured  over 
it  before  the  glass  is  placed  in  position. 

A  slight  pressure  is  given  in  a  press  of  peculiar  con- 
struction, squeezing  out  the  surplus  ink;  a  few  minutes 
is  allowed  the  ink  to  set,  when  the  glass,  being  removed, 
brings  with  it  the  delicate  gelatine  picture,  which  is  well 
named  "  Excelsior/' 


CHAPTEE  YL 

COLORING    SLIDES. 

WRITTEN  FOB  THE  SCIOPTICON  MANUAL. 

THE  magic  lantern  has  caused  much  astonishment 
and  delight  from  its  origin  to  the  present  time.  The 
pictures  or  slides  for  it  were  formerly  drawn  or  painted 
on  glass,  and  when  magnified  by  the  lantern  lens,  even 
the  most  minute  lines  looked  coarse,  and  every  imper- 
fection was  brought  out.  Much  time  and  care,  therefore, 
were  requisite  to  make  fine  pictures,  so  that  they  were 
comparatively  rare  and  expensive,  while  the  coarser 
ones  abounded;  thus  the  lantern  came  to  be  regarded 
as  a  toy,  fit  only  for  the  amusement  of  children.  An 
instrument,  however,  so  well  calculated  to  aid  in  the 
advancement  of  science  and  education,  on  account  of 
the  size  of  the  diagram  that  may  be  represented  on  the 
disk,  and  the  fact  that  the  attention  of  an  audience  is 
better  secured  when  the  only  object  visible  is  the  dia- 


78  SCIOPTICON     MANUAL. 

gram  under  explanation,  was  not  to  be  thrown  aside  as 
a  toy. 

Photography,  by  its  wonderful  sun  paintings  on  glass, 
reproduces  the  works  of  the  old  masters,  furnishes  views 
of  every  land  and  clime,  of  customs,  manners,  works  of 
art,  and  pictures,  or  diagrams,  to  illustrate  every  science, 
the  beauty  of  which,  when  colored  and  thrown  upon  the 
screen,  however  great  the  magnifying  power  used,  is  not 
diminished,  as  was  the  case  with  the  paintings  formerly 
used.  With  beautiful  and  desirable  pictures,  and  with 
improved  lights  and  instruments,  the  lantern  now  takes 
a  front  place  in  Sunday-school  work,  in  the  school,  the 
lecture-room,  and  the  home,  and  is  gladly  welcomed 
wherever  visible  illustrations  are  used,  or  beautiful  pic- 
tures prized.  While  the  stereoscope  presents  the  life- 
like photographs  to  the  individual  observer,  the  lantern 
enlarges  the  same  views,  so  that  many  may  see  and  enjoy 
at  the  same  time  the  same  beautiful  scenes  together, 
making  it  well  suited  to  the  social  gathering  and  enter- 
tainment of  friends.  Families  may  have  slides  prepared 
containing  pictures  of  family  residences,  of  members  of 
the  family,  of  favorite  dogs,  horses,  &c.,  thus  increasing 
the  pleasures  of  home,  and  social  intercourse. 

The  coloring  or  painting  of  slides  for  the  magic  lan- 
tern has  been  confined  to  comparatively  few  artists, 
the  great  care  and  nicety  of  execution  required,  making 
it  a  difficult  art  to  attain,  while  the  old  preparation  of 
varnish  colors  placed  difficulties  in  the  way  of  even  the 
most  practiced  artists. 

Water  colors  are  now  prepared  expressly  for  painting 
on  glass,  so  that  any  one  possessing  a  moderate  knowl- 
edge of  drawing,  with  some  skill  in  the  use  of  colors, 
may  succeed.  None  but  transparent  colors,  or  those 
through  which  light  is  transmitted,  can  be  used,  making 


SCIOPTICON     MANUAL. 


79 


the  number  of  colors  available  for  painting  on  glass 
necessarily  limited.  The  most  valuable  for  this  purpose 
are  the  moist  water  colors  procurable  in  metallic  collaps- 
ible tubes :  for  yellow,  Indian  yellow,  Italian  pink,  and 
yellow  lake  ;  for  blue,  Prussian  blue  and  indigo  ;  for  red, 
madder  lake,  crimson  lake,  and  scarlet  lake  ;  for  orange, 
burnt  sienna;  for  brown,  madder  brown, Vandyke  brown, 
sepia,  and  burnt  umber;  for  black,  India-ink  and  lamp- 
black; for  purple,  purple  lake,  or  red  and  blue  mixed; 
for  green,  mix  yellow  and  blue;  for  scarlet,  red  and 
yellow.  A  white  porcelain  palette,  free  from  specks  and 
grit,  is  the  best  upon  which  to  mix  and  arrange  the 
colors.  Use  soft  water  for  mixing  the  tints.  For  cake 
colors,  use  a  weak  gum  water,  taking  care  to  have  it 
quite  dilute  to  prevent  the  colors  cracking  or  peeling 
off;  place  each  tint  on  a  separate  slab  or  saucer. 

A  suitable  easel  for  holding  the  glass  to  be  painted,  is 
shown  in  the  diagram  (Fig.  25);  this  is  a  sloping  frame, 
holding  a  sheet  of  glass,  so  arranged  that  it  can  be  placed 
at  any  angle,  and  any  convenient  height  for  the  artist. 


Fig.  25. 

The  glass  or  photograph  to  be  painted,  should  be  placed 
upon  the  clear  glass  in  the  frame  (as  shown  at  S).  Upon 
the  base  board  (A)  is  spread  a  sheet  of  pure  white  paper 
to  reflect  up  the  light  through  the  painting ;  the  light 
should  fall  on  it  from  the  left  hand,  and  is  best  obtained 


80  SCIOPT  ICON     MANUAL. 

from  a  window  facing  the  north  sky.  Glass  has  a  smooth 
and  a  rough  side;  the  smooth  side  is  that  on  which  the 
drawing  is  to  be  made  ;  it  may  readily  be  determined  by 
drawing  the  finger-nail  over  the  surface.  The  glass 
should  bo  carefully  cleaned  with  water,  to  which  a  solu- 
tion of  ammonia  has  been  added.  A  fine  brush,  or  cheap 
gold  pen,  may  be  used  for  drawing  outlines,  which  should 
be  made  with  colors  suited  to  the  part  of  the  painting 
for  which  they  are  to  be  used;  the  foreground  being 
drawn  with  bolder  lines  than  those  more  remote. 

One  of  the  most  difficult  things  to  accomplish  in  trans- 
parent painting  on  glass,  perhaps,  is  to  lay  on  a  uniform 
tint,  free  from  lines  or  specks ;  as  a  clear  blue  sky  with- 
out clouds.  The  brush  should  be  well  charged  with  the 
blue  tint,  and  the  color  spread  or  floated  upon  the  glass 
as  evenly  as  possible,  and  afterwards  equalized  by  a 
careful  application  of  the  brush  dabber  :  that  is  a  camel- 
hair  brush  cut  down  (as  shown  in  Fig.  25),  the  edge  of 
which  being  afterwards  passed  through  a  flame  so  as  to 
remove  any  straggling  hairs.  The  finger,  also,  may  be 
used  as  a  dabber,  and  when  used  with  dexterity,  is  very 
effective.  To  take  out  the  necessary  lights,  as  those  of 
clouds,  and  to  soften  the  edges,  a  stump  made  of  leather 
or  paper  may  be  used.  In  coloring  photographs  the  out- 
line and  shading  are  provided;  so  that  flat  washes  of 
color  are  to  be  laid  on,  and  then  retouched  and  improved ; 
avoid  covering  the  deepest  shadows,  thus  destroying 
their  transparency.  Breathe  on  it  sufficiently  to  moisten 
the  colors,  and  carefully  blend  and  harmonize  the  tints; 
commence  with  the  sky,  then  the  middle  distance  should 
be  worked  out,  lastly  the  foreground.  As  the  pictures 
are  necessarily  small,  a  magnifying  hand  lens,  such  as 
is  used  by  artists  for  fine  work,  is  desirable  to  assist  one 
in  coming  close  to  the  lines  with  washes  of  color. 


SCIOPTIOON     MANUAL.  81 

The  brushes  should  be  sable,  of  moderate  size,  and 
soft  to  the  touch,  and  when  charged  with  water,  com o 
to  a  good  point  without  straggling  hairs;  some  prefer  a 
flat  brush  instead  of  a  round  one.  It  is  well  to  have  a 
sufficient  number  of  brushes,  and  to  use  a  different  one 
for  each  tint.  A  piece  of  cloth  should  be  used  for  clean- 
ing brushes  and  dabbers,  as  neatness  is  very  essential  to 
success.  An  ordinary  round-pointed  pocket  knife  will 
be  found  useful  for  removing  color.  Etching-needles 
may  be  used  for  making  minute  touches  of  light,  as  on 
spears  of  grass;  winter,  snow,  spring,  and  moonlight 
effects  are  produced  chiefly  by  the  skilful  use  of  the 
knife  and  needle-points,  to  remove  the  color  and  produce 
strong  white  light  in  the  picture.  As  pictures  vary 
much  in  style,  it  would  be  difficult  to  give  directions 
which  would  apply  to  all.  Beginners  should  copy  well- 
painted  lantern  slides  at  first,  as  this  would  guide  in  the 
colors  to  be  used.  Practice  on  waste  pieces  of  glass 
and  noting  the  effect  in  the  lantern,  would  also  prove 
beneficial  and  accustom  the  artist  to  regulate  the  tones 
of  the  picture  in  the  best  manner.  "When  the  picture 
is  finished,  it  should  be  protected  by  a  thin  transparent 
varnish,  such  as  photographers  use,  or  a  thin  coat  of 
Canada  balsam.  To  prevent  scratching,  a  glass,  the  same 
size  as  the  picture,  should  be  laid  over  it ;  and  to  prevent 
injuring  from  contact,  a  narrow  rim  of  paper  should  be 
interposed  between  the  glasses;  they  can  then  be  bound 
or  framed. 

"  Aniline  colors  have  been  used  for  photographic  views 
with  some  success.  They  are  brilliant  and  transparent, 
but  require  careful  use  to  prevent  the  tints  running  one 
into  the  other.'' 

Comic  slides  are  often  painted  in  a  coarser  manner, 
and  oil  paints  are  used.  The  method  is  very  similar  to 


82  SOIOPT  ICON     MANUAL. 

that  given  for  water  colors  :  the  same  kinds  of  brushes, 
dabbers,  and  the  same  list  of  colors  are  used.  The  paints 
employed  are  sold  in  tubes ;  mastic  varnish  diluted  with 
turpentine  is  used  as  a  vehicle,  sugar  of  lead  as  a  drier. 
Comic  or  slip  slides  are  generally  painted  on  two  pieces 
of  glass,  one  of  which  is  firmly  fixed  in  the  frame,  the 
other  movable;  these  glasses  are  so  adjusted,  that  when 
the  sliding  glass  is  pulled  out,  an  effect  is  produced  which 
differs  entirely  from  that  shown  when  the  glass  is  pushed 
in;  as,  for  example,  "The  Windy  Day;"  the  lady  is 
seen  passing  along,  fashionably  dressed  and  equipped; 
the  slip  being  drawn,  she  is  shown  in  sad  plight  by  the 
turned  parasol,  loss  of  false  hair,  bonnet,  &c. ;  or  a 
beautiful  lily  or  tulip  is  seen ;  the  slip  is  drawn,  and  a 
lovely  fairy  seems  to  float  up  from  the  flower.  Chroma- 
tropes  are  constructed  of  two  circular  pieces  of  glass 
painted  from  the  centre  to  the  circumference  of  the 
circle  with  variously  tinted  rays  and  patterns,  these  are 
framed  in  brass  frames,  having  grooves  around  them 
turned  face  to  face,  and  when  made  to  revolve  reversely 
throw  out  beautiful  and  brilliant  hues;  according  to  the 
way  in  which  they  are  made  to  turn,  they  expand  or 
contract. 

Statuary  gives  a  much  better  effect,  if  the  glass  around 
it  is  covered  with  some  opaque  paint.  Lampblack 
ground  very  fine  with  mastic  varnish,  a  few  drops  of 
oil  of  cloves,  and  then  brought  to  the  right  consistency 
with  turpentine,  is  perhaps  the  best,  as  it  does  not  rub 
off.  "Opaque,"  an  article  manufactured  by  Mr.  Gihon, 
of  Philadelphia,  is  more  easily  applied,  being  used  with 
water,  and  answers  every  purpose. 

Figures  which  appear  on  the  screen  as  black  shadows, 
may  be  painted  on  the  glass  with  these  materials;  or,  to 
produce  the  same  effect,  designs  may  be  cut  from  paper 


SCIOPTICONMANUAL.  83 

and  pasted  on  the  glass.  Glass  may  be  smoked  or  cov- 
ered with  opaque  paint,  and  diagrams  scratched  upon  it 
with  a  needle-point  or  sharp  knife;  the  light  passing- 
through  these  lines  appearing  on  the  screen  as  a  white 
chalk  diagram  on  a  blackboard.  Still  another  way  of 
preparing  diagrams  is  to  dissolve  gelatine,  such  as  is 
used  in  cooking ;  strain,  and  pour  it  over  the  glass,  form- 
ing a  thin  film  on  its  surface.  When  this  is  dry,  the  dia- 
gram is  scratched  on  as  before,  and  soft  lead  rubbed  over 
the  lines.  Mottoes  may  be  photographed  on  glass,  and 
then  colored,  or  the  designs  drawn  with  the  pen  or 
brush,  and  colored. 

The  Sciopticon  is  extremely  well  adapted  for  experi- 
ments and  amusements,  as  its  front  lens  can  be  drawn 
out,  giving  ample  space  for  the  introduction  of  figures 
and  such  like.  Small  china  and  wooden  dolls,  with  but 
slight  tissue-paper  dress,  may  be  made  to  twirl  or  move 
about  in  many  curious  ways;  those  with  perfect  faces 
are  the  best.  They  of  course  must  be  suspended  by  a 
silk  or  wire  attached  to  the  feet ;  but  a  hint  is  sufficient. 
Lizards,  fish,  and  insects  in  the  tank  are  always  pleasing 
because  they  move.  When  one  has  but  few  slides,  the 
entertainment  may  be  varied  by  introducing  some  of 
the  home-made  objects,  thus  affording  much  amusement, 
with  but  slight  expense  and  trouble. 


CHAPTEE  VII. 

CHEMICAL   EXPERIMENTS. 

CONTRIBUTED  BY  PROF.  HENRY  MORTON,  Ph.  D. 

President  of  the  Stevens  Institute  of  Technology,  Hoboken,  N.  J. 

IN  addition  to  the  use  of  the  magic  lantern  in  its 
original  office  of  exhibiting  pictures,  it  will  admit  of  a 
great  variety  of  applications  which  enable  the  operator 


84 


SCIOPTICON     MANUAL. 


to  produce  countless  variations  in  the  effects  developed, 
by  which  an  endless  variety  and  constant  novelty  can 
be  secured. 

For  this  purpose  there  is  needed  in  the  first  placed  the 

simple  apparatus 
shown  in  our  wood 
cut,  consisting  of  a 
small  tank,  made  by 
securing  two  plates 
of  glass,  about  4x5 
inches,  with  four 
clamps,  against  a 
strip  of  rubber 
about  £  inch  thick, 
bent  into  the  three 
sides  of  a  rectangle 
and  notched  at  the  corners  to  facilitate  its  bending. 

"We  then  require  one  or  more  glass  pipettes  provided 
with  elastic  balls,  such  as  are  made  by  the  rubber  manu- 
facturers. This  little  apparatus  is  shown  in 
Fig.  27,  where  A  is  the  rubber  ball,  B  the 
glass  globe  of  the  pipette,  and  C  its  point 
drawn  to  a  moderately  fine  orifice. 

A  few  small  pipettes  made  by  simply  draw- 
ing short  pieces  of  glass  tube  to  a  fine  point, 
are  also  useful. 

In  addition,  a  few  bottles  with  such  ordi- 
nary chemicals  as  will  be  mentioned  further 
on,  will  complete  the  outfit. 

Having  placed  the  tank,  three-quarters  full 
of  water,  as  an  object  in  the  lantern,  a  num- 
ber of  chemical  reactions  can  be  shown,  as 

J?l*/.X,f, 

follows : 
Experiment  1st.  Pour  in  a  little  solution  of  sulphate 


SCIOPTICON    MANUAL.  85 

of  copper,  and  mix  it  well  with  the  water  of  the  tank, 
then  with  the  pipette  run  in,  with  more  or  less  force, 
some  diluted  ammonia,  pausing  from  time  to  time  to 
observe  the  progress  of  the  effect.  On  the  screen  will 
be  observed  the  gathering  of  a  tempest  of  black  storm- 
clouds,  which  twirl  around  in  violent  commotion,  as  if 
urged  by  a  tornado  of  wind,  but  as  the  action  continues, 
these  clouds  will  melt  away,  and  leave  the  entire  field 
of  a  serene  and  beautiful  sky-blue. 

By  now  throwing  in  some  diluted  sulphuric  acid,  the 
same  changes  can  be  reproduced,  and  so  on  alternately 
for  a  number  of  times.  Then  when  the  tank  is  clear, 
with  an  excess  of  acid,  let  fall  a  few  drops  of  a  solution 
of  ferrocyanide  of  potassium  from  a  small  pipette,  and 
rich  red  curdled  clouds  of  ferrocyanide  of  copper  will 
form  with  a  beautiful  appearance. 

Experiment  2d.  Having  rinsed  the  tank,  or  taken  a 
fresh  one  with  water  in  it  as  before,  add  to  this  some 
solution  of  litmus,  until  the  whole  acquires  a  purplish- 
blue  tint.  Now  throw  in  very  gently  a  little  very  dilute 
acid,  and  allow  it  to  diffuse.  On  the  screen  will  appear 
the  image  of  a  beautiful  sunset  sky,  with  its  changing 
tints  of  drifting  clouds. 

When  all  has  changed  to  red,  add  ammonia,  and  so 
reverse  the  change,  which  may  then  be  repeated. 

Experiment  3d.  Proceed  exactly  as  in  the  last  case, 
but  with  a  solution  of  cochineal  in  place  of  litmus.  The 
red  color  will  then  be  changed  by  the  acid  to  a  brilliant 
yellow,  and  by  ammonia  to  a  rich  purple. 

Experiment  4th.  Into  a  tank  of  water  drop  slowly  a 
strong  solution  of  the  acid  perchloride  of  tin.  This 
on  the  screen  will  resemble  the  eruption  of  a  submarine 
volcano. 

When  a  pretty  strong  solution  has  thus  been  made  in 


86  SCIOPTICON     MANUAL. 

the  tank,  put  in  it  a  strip  of  sheet  zinc,  and  long  leaf- 
like  blades  of  metallic  tin  will  at  once  be  seen  to  shoot 
out  in  all  directions. 

Experiment  5th.  Make  a  concentrated  solution  of 
crystals  of  urea  in  alcohol  of  about  95  per  cent.  (The 
common  85  per  cent^  alcohol  will  not  answer.)  Let  a 
few  drops  of  this  fall  on  a  glass  plate,  and  with  the 
finger  spread  it  rapidly  over  the  surface,  and  then  at 
once  place  it  as  an  object  in  the  lantern.  After  about  a 
minute,  blow  gently  on  the  plate  with  a  bellows  (not 
with  the  breath),  and  at  once  on  the  screen  will  be  seen 
the  growth  as  of  frost  crystals  shooting  over  the  field 
in  all  directions. 

Experiment  6th.  If  sulphate  of  copper  in  solution  is 
mixed  with  enough  gum-arabic  water  to  make  the  solu- 
tion form  a  continuous  film,  when  flowed  like  collodion 
on  a  clean  glass,  and  such  plates  are  allowed  to  dry 
slowly  in  a  nearly  horizontal  position,  a  very  beautiful 
crystalline  vegetation  will  set  in,  which  varies  in  its 
character  with  the  proportion  of  gum  used,  and  will 
make  objects  well  fitted  for  exhibition  with  the  lantern. 

In  place  of  sulphate  of  copper,  we  may  use  nitre,  or 
ferrocyanide  of  potassium,  with  the  production  of  an 
entirely  new  class  of  forms. 

By  placing  the  plates  so  covered  with  crystals  over  a 
leaden  dish,  in  which  is  a  little  fluor-spar,  moistened 
with  sulphuric  acid,  and  warmed  slightly  (giving  off 
fumes  of  hydrofluoric  acid),  permanent  etchings  may  bo 
prepared,  which  are  also  very  beautiful  objects  for  the 
lantern. 

These  are  only  a  few  of  the  experiments  of  this  char- 
acter which  can  be  performed  with  the  lantern,  but  they 
will  indicate  the  direction  in  which  each  one  can  be  a 
discoverer  and  inventor  for  himself. 


SCIOPTICON    MANUAL. 


87 


MISCELLANEOUS  EXPERIMENTS. 

THE  SCIOPTICON  TANK  (Fig.  28)  is  free  from  projecting 
clamps  and  so  passes  freely  upon  the  stage  in  front  of 
the  condenser.  It  serves  as  a  dry  cage  for  insects,  &c., 
a  cell  to  show  liquids  and  life  in*water,  a  tank  for  the 
exhibition  of  chemical  reactions,  and  with  wires  pro- 
tected and  bent  over  the  ends  it  can  be  used  in  connec- 
tion with  a  galvanic  battery.  It  is  the  most  convenient 
for  the  preceding  experiments,  as  well  as  for  these 
which  follow. 


Fig.  28. 


COHESION  FIGURES. — The  cohesion  figures  known  as 
Tomlinson's  are  both  interesting  and  beautiful,  and  can 
be  shown  as  follows :  Fill  the  tank  to  within  half  an 
inch  of  the  top  with  alcohol  and  slide  it  into  place  upon 


88  SCIOPTICON   MANUAL. 

the  stage ;  now  with  a  glass  rod,  or  small  brush,  dipped 
in  any  of  Judson's  aniline  dyes,  touch  the  side  of  the 
tank  gentty,  so  as  to  leave  a  drop  on  it.  This  drop,  di- 
rectly as  it  touches  the  alcohol,  will  go  straight  down  for 
half  an  inch  or  so,  and  then  break  out  into  two  branches; 
these  again  will  break  in  four,  and  so  on,  until  by  the 
time  the  dye  gets  to  the  bottom  of  the  tank  it  will  have 
formed  some  hundreds  of  delicate  branches.  As  this 
action  is  reversed  on  the  screen,  the  branches  appear- 
ing to  shoot  upwards,  the  effect  is  much  heightened. 
A  (Fig.  28),  shows  the  form  assumed.  By  placing  at  in- 
tervals of  half  an  inch  drops  of  different  colors,  as  their 
branches  commingle,  the  effect  reminds  one  of  a  shower 
of  different  colored  rockets.  If  we  now  take  another 
tank,  and  fill  it  with  coal  oil,  and  put  a  drop  of  fusel 
oil  into  it,  we  get  an  entirely  different  figure,  as  shown 
at  B.  The  fusel  oil  is  best  colored. 

CAPILLARY  ATTRACTION  can  be  strikingly  shown  to  a 
large  audience.  A  series  of  glass  tubes  of  different  sizes 
are  fitted  into  a  piece  of  wood  which  rests  on  the  top  of 
the  tank,  and  dips  down  to  near  the  bottom;  when  the 
tank  is  filled  with  water,  which  is  best  tinted,  the  dif- 
ferent heights  of  the  water,  according  to  the  fineness 
of  the  tubes,  will  be  shown  clearly  on  the  screen.  The 
curve  shown  by  the  liquid  rising  between  two  pieces  of 
glass  can  be  shown  in  the  same  manner,  the  colored 
water  forming  a  pretty  gradation  of  color  between  the 
highest  and  lowest  part. 

CRYSTALLIZATION. — By  filling  the  tank  with  a  satu- 
rated solution  of  Glauber's  salts,  and  allowing  it  to  cool, 
it  will  appear  transparent  on  the  screen,  but  by  dropping 
one  small  crystal  into  it  the  whole  mass  will  be  seen  to 
shoot  out  into  beautiful  crystals. 


SCIOPTICON    MANUAL.  89     ^ 

The  crystallization  of  many  other  substances,  such  as 
bichromate  of  potash,  alum,  &c.,  and  the  precipitation 
of  iodides  of  silver,  mercury,  and  other  salts,  all  form 
beautiful  objects  on  the  screen. 

THE  DEVELOPMENT  OP  A  PHOTOGRAPH  ON  THE  SCREEN. 
— For  this  we  require  a  tank  with  one  of  its  faces  of 
yellow  glass,  which  side  should  be  next  the  condenser. 
Place  a  small  statuette  in  the  rays  of  the  lantern,  and 
having  prepared  a  small  plate  with  collodion  and  sensi- 
tized it,  expose  in  the  camera  for  about  a  minute;  then, 
having  filled  the  trough  with  developing  solution,  place 
in  it  the  slide,  and  as  tbe  development  proceeds  the 
image  will  gradually  appear  on  the  screen.  A  trans- 
parency might  then  be  made  from  this,  and,  after  drying, 
shown  on  the  screen,  thus  illustrating  the  formation  of  a 
photographic  lantern  slide. 

CHANGING  COLORS. — A  glass  coated  with  a  mixture 
of  gelatine  and  chloride  of  cobalt,  when  placed  in  front 
of  a  slide,  will  give  a  rosy  effect  to  the  picture,  which, 
however,  from  the  effect  of  the  warmth  of  the  lantern, 
will  gradually  change  to  purple  and  then  to  blue.  On 
becoming  damp  again  it  will  resume  its  red  color,  and 
can  be  used  over  and  over  again. 

COMPLEMENTARY  COLORS. — A  number  of  beautiful  ef- 
fects, showing  complementary  colors,  may  be  obtained 
with  the  Sciopticon.  If  we  insert  a  piece  of  green  glass, 
having  any  design  cut  out  of  black  paper  and  pasted  on 
it,  we  shall  see  on  the  screen  a  black  design  on  a  green 
ground ;  but  by  bringing  another  light  into  the  room  or 
turning  up  the  gas,  the  black  design  will  at  once  appear 
to  the  eye  as  a  brilliant  pink. 

By  making  apertures  in  a  card  slide,  as  circles,  squares, 

7 


90  SCIOPTICON     MANUAL. 

or  diamonds,  say  a  fourth  of  an  inch  in  diameter,  and 
covering  them  with  bits  of  colored  gelatine,  or  by  simply 
using  the  tinters  of  the  Sciopticon,  many  curious  effects 
in  complementary  colors  may  be  obtained. 

FAIRY  FOUNTAIN. — The  effect  of  what  is  known  as  the 
tl  Fairy  Fountain  "  can  be  prettily  illustrated  in  the  fol- 
lowing manner :  A  small  table  fountain  is  placed  at  a 
distance  of  about  four  feet  in  front  of  the  lantern ;  by 
curtains  or  otherwise  the  lantern  is  then  hidden  from 
the  spectators,  so  that  they  see  only  the  fountain  illumi- 
nated by  the  rays  coming  from  the  lantern.  When  the 
fountain  is  made  to  play,  every  drop  seems  transformed 
into  a  diamond,  and  by  passing  colored  glass  in  front  of 
the  lantern  the  effect  is  striking  and  beautiful;  but  when 
the  rays  from  a  bisulphide  of  carbon  prism  are  allowed 
to  fall  on  it,  then  is  the  best  effect  produced. 

THE  KAINBOW. — A  card  with  a  curved  slit,  one-six- 
teenth of  an  inch  (Fig.  29),  will  throw  on  the  screen  a 

simple  semicircle  of  white 
light;  but  when  a  prism 
is  held  in  front  of  the  ob- 
jective, the  bow  at  once 
assumes  all  the  natural 
colors  of  the  rainbow.  As 
the  direction  of  the  rays 
is  changed,  the  range  of 
mg'  29'  the  instrument  has  to  be 

elevated,  to  bring  the  bow  upon  the  screen.  By  using 
two  lanterns,  projecting  a  view  with  one  and  the  bow 
with  the  other,  a  very  natural  effect  may  be  produced. 

A  MAGNET  AND  IRON  FILINGS. — Fix  a  small  magnet 
to  a  glass  slide,  and  carefully  arrange  a  funnel  opening 


SCIOPTICON     MANUAL.  91 

above  the  poles  in  the  lantern ;  then  allow  iron  filings 
to  fall  gently  down  the  funnel,  which  will  appear  like 
large  blocks  attracted  upward  by  a  huge  magnet. 

ASTRONOMICAL  CARDS. — The  cards  may  be  cut  to  the 
size  of  the  crystal  slide,  that  is  3£  by  4£  inches,  so  as  to 
be  used  in  the  grooved  frame,  like  an  ordinary  glass 
slide.  After  correctly  dotting  a  constellation  of  stars 
(which  may  be  done  by  the  use  of  theorem  paper  and  a 
good  map  of  the  heavens),  pierce  the  card  at  the  several 
points,  say  with  a  darning  needle,  which  may  be  made 
to  show  stars  of  different  magnitudes  by  gauging  the 
depth  of  the  insertion. 

To  illustrate  the  Solar  System,  punches  of  different 
sizes  might  be  used  and  bits  of  colored  gelatine,  covering 
the  aperture,  might  indicate  the  tints  attributed  to  each 
member. 

PINHOLE  OUTLINES. — Cards  in  shape  of  glass  slides 
and  just  thick  enough  to  be  sufficiently  stiff,  may  be 
pricked  to  show  maps,  mottoes,  figures,  diagrams,  or  any 
simple  illustration.  They  require  but  little  skill  and 
show  very  distinctly. 

PERFORATIONS. — Two  pieces  of  perforated  paper  or 
tin  made  to  slide  little  by  little  over  each  other,  in  front 
of  the  condenser,  and  modified  more  or  less  by  the 
tinters,  produce  beautiful  symmetrical  forms  in  great 
variety. 

PERSISTENCE  OF  VISION. — Apertures,  as  in  a  paper  card, 
when  moved  rapidly  in  all  directions  in  the  plane  of  the 
slide,  appear  as  lines  of  light  on  the  same  principle  that 
a  lighted  stick  waved  about  produces  lines  of  light.  A 
new  slide,  called  the  kaleidotrope,  is  constructed  and 
hung  to  exhibit  this  curious  effect. 


92  SCIOPTICON    MANUAL. 

THE  PHOTODROME. — The  photodrome,  as  shown  at  the 
Polytechnic,  may  be  made  at  a  very  small  expense.  To 
produce  this  effect  we  require  a  rapidly  moving  disk 
(having  one  or  more  slits  cut  in  it)  revolving  in  the  place 
where  the  slide  is  placed,  and  also  a  larger  one  placed 
at  some  distance — the  latter  representing  a  wheel,  the 
spokes  of  which  are  painted  in  black  on  a  sheet  of  white 
cardboard.  When  this  is  made  to  revolve  rapidly  in  the 
rays  coming  from  the  lantern,  all  trace  of  the  spokes 
will  be  completely  lost;  but  on  causing  the  small  disk 
to  revolve  at  nearly  the  same  speed  as  the  larger,  the 
latter  will  appear  to  be  moving  slowly,  although  moving 
rapidly,  and  by  increasing  the  speed  of  the  smaller 
wheel,  the  larger  will  gradually  appear  to  slacken  in 
speed  until  it  appears  to  be  motionless,  and  then  appa- 
rently begin  to  move  in  an  opposite  direction  to  which 
it  is  really  revolving. 

SILHOUETTES,  &c. — Paper  patterns,  silhouettes,  &c., 
suspended  by  a  thread  attached  to  the  feet,  and  twirled 
before  the  condenser,  give  a  very  amusing  and  curious 
effect. 

GALVANIC  ACTION. — Fill  the  tank  with  a  solution  of 
nitrate  of  silver,  and  introduce  at  each  end  two  wires 
from  a  small  battery;  from  one  of  the  wires  a  beautiful 
silver  tree  will  immediately  begin  to  grow.  The  experi- 
ment may  be  varied  by  substituting  acetate  of  lead  for 
a  lead  tree. 

Litmus  solution,  neutralized,  will  gradually  redden 
around  one  point,  while  around  the  other  it  will  assume 
a  blue  tint. 

With  a  solution  of  cochineal,  the  red  color  will  be 
changed  by  the  acid  to  a  brilliant  yellow,  and  by  the 
ammonia  to  a  rich  purple. 


SCIOPTICON     MANUAL.  93 

NATURAL  OBJECTS,  as  leaves,  plants,  fibres,  texturo 
of  cloth,  thin  sections  of  wood,  bone,  &c.,  appear  in  dis- 
tinct outline  upon  a  white  ground.  Live  animals  in  the 
tank,  as  insects,  larvse  of  gnats,  shrimps,  worms,  lizards, 
&c.,  appear  as  huge  monsters  upon  the  screen,  and  excite 
a  lively  interest  by  their  eccentric  movements. 

VERTICAL  LANTERN. — Some  very  interesting  experi- 
ments require  the  slides  to  lie  in  a  horizontal  position. 
This  is  commonly  effected  by  reflecting  the  light  up 
through  the  glass  plate  and  the  objective  lens,  and  then 
by  another  mirror  reflecting  the  image  horizontally  to 
the  screen.  A  lantern  appendage  of  this  sort  in  now  in 
the  trade,  at  $20. 

But  this  is  equivalent  to  placing  the  slide  at  least  four 
inches  from  the  face  of  the  condenser,  which,  at  best, 
puts  it  at  great  disadvantage,  and  then  there  is  the  loss 
of  light  by  two  reflections. 

The  oil  light  cannot  well  bear  these  drawbacks,  the 
lime  light  is  better;  but  with  the  lime  light  the  Sciop- 
ticon  may  be  placed  on  end,  as  shown  at  Fig.  30. 

When  attached  to  its  carrying  box,  in  the 
ordinary  way,  it  may  be  held  in  this  position 
over  the  edge  of  a  table,  so  as  to  be  con- 
veniently operated.  The  front  flame-chamber 
glass  will  protect  the  condenser  from  its 
greater  liability  to  become  heated.  Fig'  3O' 

A  glass  disk,  clean  cut,  and  slightly  larger  than  the 
condenser,  answers  for  the  slide  plate;  and  if  a  rubber 
band  be  stretched  about  its  periphery,  like  the  tire  of  a 
wagon  wheel,  it  will  become  a  tank  for  fluids. 

With  this  arrangement,  a  mirror  at  an  angle  of  45° 
above  the  objective  will  throw  the  effect  upon  the  screen 
without  appreciable  loss  of  light. 


94  SCIOPTICON     MANUAL. 

EIPPLE  WAVES. — Fill  the  tank,  as  it  rests  on  the  ver- 
tical lantern,  with  clear  water,  when  taps  on  the  edge 
of  the  glass  will  start  ripple  waves,  which  will  be  seen 
on  the  screen  in  varied  harmonious  arrangements  of  form. 

Touching  the  surface  with  the  point  of  a  fine  wire 
will  start  the  waves  in  circles.  Vibrations  effected  by 
drawing  a  fiddle  bow  across  the  edge  are  seen  to  vary 
according  to  the  different  tones  produced. 

ADHESION  FIGURES. — Drops  of  various  oils  upon  the 
surface  of  the  water,  essential  oils  for  instance,  will  ex- 
hibit various  interesting  adhesion  figures,  each  oil  as- 
suming some  peculiar  form  of  outline. 

MAGNETIC  CURVES. — A  thin  bit  of  magnetic  steel,  say 
three-fourths  of  an  inch  long  by  one-eighth  wide,  ce- 
mented on  the  under  side  of  a  glass  plate,  will  attract 
fine  iron  filings  scattered  upon  the  plate  into  curves, 
illustrating  the  deviation  of  the  magnetic  attraction  at 
either  pole  and  the  neutral  axis  in  the  centre  of  the 
magnet.  A  few  taps  on  the  glass  will  assist  the  arrange- 
ment. 


CHAPTER  VIII. 


CONCERT  EXERCISES. 


THE  value  of  visible  illustrations  as  a  means  of  im- 
parting instruction,  and  of  affording  rational  entertain- 
ment, depends  much  on  the  accompanying  oral  explana- 
tions. 


SCIOPTICON     MANUAL.  95 

Except  to  a  very  limited  extent,  it  is  not  practicable 
(as  many  seem  to  suppose  it  is),  to  forward  with  a  mis- 
cellaneous selection  of  magic  lantern  slides  a  printed 
lecture. 

In  the  absence  of  special  provisions  for  supplying  this 
demand,  some  general  hints  in  this  direction  may  here 
prove  acceptable. 

In  some  assemblages  (possibly  in  some  Sun  day-schools), 
very  little  can  be  said  to  advantage  on  account  of  the 
prevailing  noise  and  confusion.  The  exhibitor  having 
(for  love  or  money)  accepted  the  situation,  the  question 
arises  as  to  how  to  make  the  best  of  it. 

In  such  cases  in  particular  it  is  politic,  as  well  as 
proper,  to  select  slides  unexceptionable  in  their  influence. 
Grotesque  and  ridiculous  representations  gratify  a  de- 
praved taste,  and  render  a  demoralized  company  still 
more  unruly.  It  is  better  to  please  by  what  is  strikingly 
excellent  and  beautiful. 

Without  assuming  the  attitude  of  a  reformer,  one  may 
take  advantage  of  the  lull  of  expectancy  preceding  a 
change  of  scene  to  give  in  a  natural  voice  some  interest- 
ing particulars  of  the  forthcoming  picture. 

"  Your  mystical  lore, 
As  coming  events  cast  their  shadows  before," 

will  be  respected,  and  you  may  be  able,  by  judicious 
management,  to  strengthen  your  position  on  vantage 
ground.  Even  in  a  civilized  assembly  (and  we  may 
well  hope  to  find  ourselves  in  no  other),  some  tact  is 
needful,  as  well  as  agreeable  speech  and  faultless  manipu- 
lation. 

BIBLE   PICTURES. 

Among  standard  colored  lantern  slides,  Bible  pictures 
properly  take  the  lead.  They  embody  the  genius  of  the 


96  SCIOPTICON     MANUAL. 

most  gifted  artists,  in  connection  with  subjects  of  the 
most  thrilling  interest  to  mankind. 

We  may  name  the  picture,  particularizing  when  nec- 
essary its  several  parts,  and  then  repeat  the  Scripture 
which  is  illustrated. 

Take,  for  example,  Adam  and  Eve  in  Paradise;  the 
luxuriant  foliage,  the  lion,  the  ox,  the  horse,  the  birds, 
and  alas!  the  subtle  serpent. 

"  In  the  beginning  God  created  the  heaven  and  the  earth. 

u  And  God  said,  Let  us  make  man  in  our  image,  after  our  like- 
ness ;  and  let  them  have  dominion  over  the  fish  of  the  sea,  and  over 
the  fowls  of  the  air,  and  over  the  cattle,  and  over  all  the  earth,  and 
over  every  creeping  thing  that  creepeth  upon  the  earth. 

"So  God  created  man  in  his  own  image;  in  the  image  of  God 
created  he  him  ;  male  and  female  created  he  them. 

"  And  the  Lord  God  planted  a  garden  eastward  in  Eden ;  and 
there  he  put  the  man  whom  he  had  formed." — Gen.  1 :  1,  26,  27; 
2:  8. 

Or  take  the  scene  where  Joseph  presents  his  father 
to  Pharaoh.  Mark  the  postures  of  each,  and  consider 
the  manners  of  the  times. 

"  And  Joseph  brought  in  Jacob  his  father,  and  set  him  before 
Pharaoh ;  and  Jacob  blessed  Pharaoh.  And  Pharaoh  said  unto 
Jacob,  How  old  art  thou?  And  Jacob  said  unto  Pharaoh,  The 
days  of  the  years  of  my  pilgrimage  are  a  hundred  and  thirty  years  : 
few  and  evil  have  the  days  of  the  years  of  my  life  been,  and  have 
not  attained  unto  the  days  of  the  years  of  the  life  of  my  fathers  in 
the  days  of  their  pilgrimage.  And  Jacob  blessed  Pharaoh,  and 
went  out  from  before  Pharaoh." — Gen.  47:  7,  8,  9,  10. 

Thus  Scripture,  to  any  desired  extent,  may  be  readily 
selected  appropriate  to  any  Bible  picture,  from  Adam 
and  Eve  in  Eden  to  St.  John's  vision  of  the  Celestial  City. 
So  the  exhibitor  has  ample  material  at  hand  for  shaping 
an  effective  and  charming  discourse,  suited  to  any  series 
of  Bible  pictures  which  he  may  have  to  show. 


SCIOPTICON     MANUAL.  97 

The  Bible  is,  par  excellence,  the  storehouse  of  un- 
failing supplies  for  the 

SUNDAY-SCHOOL. 

In  this  modern  institution,  as  elsewhere,  there  are 
many  duties  to  be  performed,  and  more  ways  than  one 
of  doing  each  of  them.  "We  will  indicate,  in  this  con- 
nection, one  way  of  using  the  Sciopticon.  Each  member 
of  the  school  takes  a  small  moneyed  interest  in  the  con- 
cern at  the  outset,  which  insures  his  taking  a  more  lively 
interest  in  the  success  of  the  enterprise  afterwards. 

The  apparatus  is  strictly  in  the  hands  of  an  authorized 
keeper,  because  lax  regulations  suppress  all  genuine 
enthusiasm. 

The  operator  arranges  his  slides  in  proper  order  and 
position,  and  so  is  able  to  avoid  ridiculous  blunders. 
His  characters  are  introduced  on  time,  steady  and  up- 
right, and  his  scenery  glides  into  place  as  if  seen  from 
the  deck  of  a  moving  steamer. 

It  is  good  policy  to  enlist  as  many  pupils  as  possible 
into  active  service,  thus  incidentally  enlisting  the  sym- 
pathies of  as  many  circles  of  relatives  and  friends. 

Suppose  repentance  is  the  theme,  and  the  "  Prodigal's 
Return  "  is  illustrated  upon  the  screen.  A  pupil,  fully 
prepared,  stands  in  his  place  and  recites  the  whole  para- 
ble as  found  in  Luke  15. 

Another  pupil,  rising  in  his  class,  recites : 

"  Therefore  also  now  saith  the  Lord,  Turn  ye  even  to  me  with 
all  your  heart,  and  with  fasting,  and  with  weeping,  and  with 
mourning.  And  rend  your  heart,  and  not  your  garments,  and 
turn  unto  the  Lord  your  God  ;  for  he  is  gracious  and  merciful,  slow 
to  anger,  and  of  great  kindness,  and  repenteth  him  of  the  evil." — 
Joel  2:  12,  13. 

A  third  voice  rings  out  clearly : 

"  Let  the  wicked  forsake  his  way,  and  the  unrighteous  man  his 


98  SCIOPTICON     MANUAL. 

thoughts  ;  and  let  him  return  unto  the  Lord,  and  he  will  have  mercy 
upon  him;  and  to  our  God,  for  he  will  abundantly  pardon." — 
Is.  55 :  7. 

Passages  bearing  on  repentance  and  forgiveness  are 
very  numerous,  from  which  selections  can  be  made  to 
any  extent  desired.  Illustrations  with  fewer  relations 
to  parallel  passages  may  be  coupled  with  others  to  ex- 
tend the  exercise  to  proper  length. 

Selections  also  from  modern  writers,  well  rendered, 
give  pleasing  variety  and  artistic  effect  to  the  perform- 
ance. The  sacred  poems  of  K.  P.  Willis,  for  example, 
are  very  appropriate.  The  following  extracts  may  serve 
as  specimens : 

ABRAHAM'S  SACRIFICE. 

.     .     .     .     He  rose  up,  and  laid 
The  wood  upon  the  altar.     All  was  done. 
He  stood  a  moment,  and  a  deep,  quick  flush 
Passed  o'er  his  countenance ;  and  then  he  nerved 
His  spirit  with  a  bitter  strength,  and  spoke — 
"  Isaac !  my  only  son  !"     The  boy  looked  up. 
"  "Where  is  the  lamb,  my  father  ?"     Oh,  the  tones, 
The  sweet,  familiar  voice  of  a  loved  child  I 
"What  would  its  music  seem  at  such  an  hour  ? 
It  was  the  last  deep  struggle.     Abraham  held 
His  loved,  his  beautiful,  his  only  son, 
And  lifted  up  his  arm,  and  called  on  God, 
And  lo !  God's  angel  stayed  him — and  he  fell 
Upon  his  face,  and  wept. 

HEALING   OP   THE   DAUGHTER   OF   JAIRT7S. 

.     .     .     .     The  Saviour  raised 
Her  hand  from  off  her  bosom,  and  spread  out 
The  snowy  fingers  in  his  palm,  und  said — 
"  Maiden  I  arise/" — and  suddenly  a  flush 
Shot  o'er  her  forehead,  and  along  her  lips, 


SCIOPTICON     MANUAL. 

And  through  her  cheek  the  rallied  color  ran  ; 
And  the  still  outline  of  her  graceful  form 
Stirred  in  the  linen  vesture ;  and  she  clasped 
The  Saviour's  hand,  and  fixing  her  dark  eyes 
Full  on  his  beaming  countenance,  AROSE  I 

CHRIST   WEEPING   OVER   JERUSALEM. 

.     .     .     How  oft,  Jerusalem  !  would  I 
Have  gathered  you,  as  gathereth  a  hen 
Her  brood  beneath  her  wings,  but  ye  would  not ! 

He  thought  not  of  the  death  that  he  would  die — 

He  thought  not  of  the  thorns  he  knew  must  pierce 

His  forehead — of  the  buffet  on  the  cheek — 

The  scourge,  the  mocking  homage,  the  foul  scorn  ! 

Gethsemane  stood  out  beneath  his  eye 

Clear  in  the  morning  sun,  and  there  he  knew 

While  they  who  "could  not  watch  with  him  one  hour  " 

Were  sleeping,  he  should  sweat  great  drops  of  blood, 

Praying  the  "  cup  might  pass."     And  Golgotha 

Stood  bare  and  desert  by  the  city  wall, 

And  in  its  midst,  to  his  prophetic  eye, 

Rose  the  rough  cross,  and  its  keen  agonies 

Were  numbered  all — the  nails  were  in  his  feet — 

The  insulting  sponge  was  pressing  on  his  lips — 

The  blood  and  water  gushing  from  his  side — 

The  dizzy  faintness  swimming  in  his  brain — 

And,  while  his  own  disciples  fled  in  fear, 

A  world's  death-agonies  all  mixed  in  his  I 

Ay — he  forgot  all  this.     He  only  saw 

Jerusalem — the  chosen — the  loved — the  lost ! 

He  only  felt  that  for  her  sake  his  life 

Was  vainly  given,  and,  in  his  pitying  love, 

The  sufferings  that  would  clothe  the  heavens  in  black 

Were  quite  forgotten.     Was  there  ever  love, 

In  earth  or  heaven,  equal  unto  this  ? 

Longer  or  shorter  extracts  may  be  used  as  occasion 
requires.     The  following  are  titles,  of -others,  equally 


100  SCIOPTICON    MANUAL. 

beautiful,  and  descriptive  of  subjects  illustrated  by  lan- 
tern slides :  "  Hagar  in  the  Wilderness,"  "  The  Shuna- 
mite,"  "Jepthah's  Daughter,"  "Hannah  and  Samuel," 
"Absalom,"  "  Eispah  with  her  Sons,"  "  Baptism  of 
Christ,"  "  The  Widow  of  Nain,"  "  The  Kaising  of  Laza- 
rus," "Christ's  Entrance  into  Jerusalem,"  and  "Scene 
in  Gethsemane." 

The  following  poem,  by  an  author  unknown  to  us, 
will  be  inserted  entire,  as  it  so  vividly  portrays  the  mind 
of  the  parent  and  the  love  of  the  Saviour  for  children, 
and  so  graphically  describes  the  picture  of  "Christ  Bless- 
ing Little  Children:" 

«'  The  Master  has  come  over  Jordan," 
Said  Hannah,  the  mother,  one  day; 
"  Is  healing  the  people  who  throng  Him, 
With  a  touch  of  his  finger,  they  say. 

"  And  now  I  shall  carry  the  children, 
Little  Rachel,  and  Samuel,  and  John ; 

I  shall  carry  the  baby  Esther, 
For  the  Lord  to  look  upon." 

The  father  looked  at  her  kindly, 

But  he  shook  his  head,  and  smiled  ;— 

"  Now,  who  but  a  doting  mother 
"Would  think  of  a  thing  so  wild  ? 

"  If  the  children  were  tortured  by  demons, 

Or  dying  of  fever,  'twere  well ; 
Or  had  they  the  taint  of  the  leper, 

Like  many  in  Israel." 

II  Nay,  do  not  hinder  me,  Nathan, 
I  feel  such  a  burden  of  care, 

If  I  carry  it  to  the  Master, 
:     -  Perhaps  1  shall  leave-ib  there., 


SCIOPTICON     MANUAL.  101 

"  If  He  lay  His  hand  on  the  children, 

My  heart  will  be  lighter,  I  know, 
For  a  blessing  forever  and  ever 
Will  follow  them  as  they  go." 

So  over  the  hills  of  Judah, 

Along  by  the  vine-rows  green, 
"With  Esther  asleep  on  her  bosom, 

And  Kachel  her  brothers  between  ; 

'Mong  the  people  who  hung  on  His  teaching, 

Or  waited  His  touch  and  His  word, 
Through  the  rows  of  proud  Pharisees  listening, 

She  pressed  to  the  feet  of  the  Lord. 

"Now  why  shouldst  thou  hinder  the  Master," 
Said  Peter,  «'  with  children  like  these  ? 

Seest  not  how  from  morning  till  evening 
He  teacheth,  and  healeth  disease?" 

Then  Christ  said,  "  Forbid  not  the  children: 

Permit  them  to  come  unto  Me," 
And  He  took  in  His  arms  little  Esther, 

And  Kachel  He  set  on  His  knee. 

And  the  heavy  heart  of  the  mother 

Was  lifted  all  earth-care  above, 
As  he  laid  His  hand  on  the  brothers, 

And  blessed  them  with  tenderest  love. 

And  He  said  of  the  babe  in  His  bosom, 
"  Of  such  is  the  kingdom  of  heaven," — 

And  strength  for  all  duty  and  trial, 
That  hour  to  her  spirit  was  given. 

A  little  poem  published  by  the  American  Tract  Society, 
called  the  "  Old,  Old  Story,"  could  be  used  in  connection 
with  a  series  of  six  slides. 

The  "  Song  of  the  Pilgrimage/'  and  "  Christiana  and 


102  SCIOPTICON    MANUAL. 

her  Children,"  are  much  used  in  connection  with  the 
corresponding  slides.  These  published  exercises  afford 
practical  hints,  applicable  also  to  Bible  slides. 

Singing  should  be  introduced  at  every  convenient 
opportunity,  not  only  for  its  general  good  effect,  but 
that  each  individual  may  participate  directly  in  the 
exercises. 

Texts-  of  Scripture,  and  other  selections,  recited  in 
this  way  at  the  rehearsals,  and  at  the  concert,  become 
fixed  in  the  memory  of  all.  "Who  cannot  remember 
such  recitations  heard  in  childhood,  even  to  the  tones 
and  inflections  of  the  voice — of  voices,  maybe — not  now 
heard  among  the  living? 

These  modest  recitations  require  no  parade  upon  an 
illuminated  rostrum;  an  occasional  omission  is  not  very 
noticeable.  The  exercises  can  be  arranged  by  the 
superintendent,  divided  among  the  teachers,  assigned 
to  the  pupils,  and  committed  to  memory  by  them  with- 
out severe  labor  on  the  part  of  any. 

One  or  two  slides  for  the  concert  exercise,  with,  say 
a  dozen  or  so  for  subsequent  recreation,  answers  the 
purpose.  Such  a  concert  exercise,  well  gotten  up,  may 
be  several  times  repeated  with  growing  interest. 

It  often  occurs  in  schools,  where  the  burdens  and 
duties  are  monopolized  by  the  few,  that  the  many  be- 
come impatient  of  control  and  hard  to  please.  A  hun- 
dred pictures  in  such  cases  hardly  suffices,  and  a  repeti- 
tion of  the  same  is  scarcely  tolerated. 

An  earnest  worker  in  the  Sunday-school,  therefore, 
can  accomplish  more  good,  not  by  trying  to  do  every- 
thing himself,  but  by  skilfully  assigning  work  for  others, 
and  seeing  that  it  is  properly  done.  After  all,  there 
will  be  enough  left  for  pastor  and  superintendent  to  do 
and  say,  especially  when  it  comes  to  slides  selected  from 


SCIOPTICON     MANUAL.  103 

Class  III  or  V  of  the  appended  catalogue,  which  will 
require  a  lecturer  well  informed  in  relation  to 

BIBLE    LANDS. 

The  following  descriptions  are  selected  from  the 
"  Bible  Dictionary,"  "  Bible  Lands,"  "  The  Land  and  the 
Book,"  "  Bayard  Taylor's  Travels,"  &c.,  to  suit  the  slides 
in  Class  III. 

As  works  on  Egypt  are  less  common  than  the  Bible 
Dictionary,  a  description  of  each  of  the  twenty  Egyptian 
views  is  given. 

JERUSALEM. 

(For  description  of  the  City,  and  view  from  Mount  of  Olives,  see  Catalogue,  Class  III.) 

THE  TEMPLE  AREA. — The  Temple  Area,  the  precincts 
known  to  Christians  as  the  Mosque  of  Omar,  but  called 
by  the  Moslems  the  "Dome  of  the  Rock,"  the  harem 
more  sacred  to  Moslems  than  any  spot  on  earth,  except 
Mecca,  is  jealously  guarded  by  the  Turks.  It  con- 
tains about  thirty-five  acres,  a  large  portion  of  which 
is  sprinkled  with  pomegranates  and  cypresses,  with  here 
and  there  a  shrine.  Above  this  space  rises  the  platform 
of  the  great  mosque,  paved  with  marble,  and  ascended 
by  a  flight  of  white  marble  steps,  surmounted  by  a  beau- 
tifully carved  screen  or  open  gateway,  also  of  white 
marble.  The  edifice  is  an  octagon  of  about  one  hundred 
and  seventy  feet  diameter.  There  are  four  doors  at  the 
opposite  cardinal  points.  The  dome  is  sustained  by  four 
great  piers,  and  has  twelve  arches,  which  rest  on  columns. 
The  mosque  is  very  beautiful  with  a  kind  of  Moorish 
beauty.  The  octagonal  walls  below  the  dome  are  cov- 
ered with  porcelain  mosaic;  the  roof  inside  is  of  the 
richest  woods,  inlaid  and  carved;  the  floors  of  marble 


104  SCIOPTICON     MANUAL. 

mosaic ;  the  windows  like  jewelry,  of  small  pieces  of 
Venetian  stained  glass.  Beautiful  columns,  and  an 
elaborately  worked  balustrade,  surround  the  holy  stone 
(Es  Sakrah,  the  rock),  which  Moslems  believe  to  be  the 
centre  of  the  world,  suspended  from  heaven  by  an  invisi- 
ble golden  chain.  It  is  a  mass  of  the  native  rock  of 
Moriah,  the  sloping  summit  or  peak  of  the  hill;  all  the 
rest  of  the  ridge  was  cut  away  when  levelling  the  plat- 
form for  the  temple  and  its  courts. 

THE  TOWER  OP  HIPPICUS. — The  only  castle  of  any 
particular  importance  is  that  at  the  Jaffa  Gate,  com- 
monly called  the  "  Tower  of  David/'  The  lower  part 
is  built  of  huge  stones,  roughly  cut,  and  with  a  deep 
bevel  around  the  edges.  It  is  believed  by  many  to  bo 
the  Hippicus  of  Josephus,  and  to  this  idea  owes  its  chief 
importance,  for  the  historian  makes  that  the  point  of 
departure  in  laying  down  the  line  of  the  ancient  walls 
of  Jerusalem. 

THE  CHURCH  or  THE  HOLY  SEPULCHRE. — The  Church 
of  the  Holy  Sepulchre  is  now  in  the  joint  possession  of 
all  the  Eastern  Christian  sects.  Greeks,  Latins,  Arme- 
nians, and  Copts  have  each  a  chapel  within  its  inclos- 
ures,  which  embrace  the  alleged  sites  of  the  place  of  the 
crucifixion  and  the  tomb  of  the  Kedeemer.  It  has  been 
built  at  many  different  periods,  and  under  various  cir- 
cumstances. 

"  The  front  is.  a  fine  specimen/'  says  Lord  Nugent, 
"of  what  is  called  the  later  Byzantine  style  of  architec- 
ture." As  lately  as  1808,  the  whole  of  the  principal 
cupola,  and  a  great  part  of  the  church,  were  destroyed 
by  fire.  But  some  parts,  and  especially  the  Greek  chapel, 
occupying  the  whole  of  the  eastern  end  of  the  nave, 
have  been  restored  with  good  taste  and  judgment,  and 


SCIOPTICON     MANUAL.  105 

arc  magnificent  in  their  proportions  and  decorations. 
The  sepulchre  looks  very  much  like  a  small  marble 
house.  It  stands  quite  alone,  directly  under  the  aper- 
ture in  the  centre  of  the  dome. 

THE  JEWS'  PLACE  OF  WAILING. — No  sight  meets  the 
eye  in  Jerusalem  more  sadly  suggestive  than  the  wailing- 
place  of  the  Jews,  in  the  Tyropean,  at  the  base  of  the 
wall  which  supports  the  west  side  of  the  Temple  Area, 
where  some  ancient  stones  still  mark  the  old  walls  of 
the  temple.  In  past  ages  the  Jews  have  paid  immense 
sums  to  their  oppressors  for  the  miserable  satisfaction 
of  kissing  these  stones,  and  pouring  out  lamentations  at 
the  foot  of  their  ancient  sanctuary.  With  trembling 
lips  and  tearful  eyes  they  sing:  "Be  not  wroth  very 
sore,  O  Lord,  neither  remember  iniquity  forever ;  behold, 
see,  we  beseech  thee,  we  are  all  thy  people.  Thy  holy 
cities  are  a  wilderness;  Jerusalem  is  a  desolation.  Our 
holy  and  beautiful  house,  where  our  fathers  praised  thee, 
is  burned  up  with  fire,  and  all  our  pleasant  things  are 
laid  waste." 

THE  GOLDEN  GATE  AT  JERUSALEM. — In  former  days 
the  gates  of  towns  were  of  the  utmost  importance;  they 
were  the  means  of  ingress  and  egress,  and  usually  had 
rooms  over  them,  and,  above  these,  watch-towers,  so 
that  the  approach  of  an  enemy  mi-ght  be  seen  before- 
hand. The  Golden  Gate,  in  the  east  wall  of  the  Temple 
Area,  is  ancient,  and  the  interior  of  it  ornamented  with 
rich  and  elaborate  carving  in  good  Grecian  style.  It  is 
now  walled  up. 

GARDEN  OP  GETHSEMANE. — "Then  cometh  Jesus  to  a 
place  called  Gethsemane,  and  saith  unto  the  disciples, 
Sit  ye  here,  while  I  go  and  pray  yonder." — Matt.  26  :  36. 

8 


106  OPTICON     MANUAL. 

Across  the  brook  Kedron,  probably  at- the  foot  of 
Mount  Olivet,  was  the  "place"  or  "farm"  of  Gethsemane. 
There  seems  to  have  been  a  garden,  or  rather  orchard, 
attached  to  it,  and  to  its  grateful  shade  we  read  that 
our  Lord  often  resorted  with  His  disciples.  At  present 
a  modern  garden  marks  the  site  of  the  ancient  one  with 
eight  venerable  olive  trees,  which  some  claim  grew  there 
in  the  Saviour's  time.  It  has  been  argued  that  Titus 
cut  down  all  the  trees  about  Jerusalem.  The  probability 
would  seem  to  be  that  they  were  planted  by  Christian 
hands  to  mark  the  spot ;  unless,  like  the  sacred  olive 
of  the  Acropolis,  they  may  have  reproduced  themselves. 

BETHLEHEM. — Bethlehem  was  in  existence  when  Jacob 
returned  from  his  long  sojourn  in  Padau  Aram.  Here 
Rachel  died.  It  was  in  the  neighboring  fields,  in  later 
times,  that  Ruth,  the  Moabitess,  went  gleaning  when 
she  came  with  her  mother-in-law,  Naomi,  to  dwell  in 
the  land  of  Israel.  It  was  the  birthplace  of  David,  but- 
is  best  known  to  us  as  the  birthplace  of  the  Redeemer 
great  David's  greater  son  and  Lord.  "On  the  plains 
near  were  the  shepherds  abiding  in  the  fields,  and  kecp- 
'ing  watch  over  their  flocks  by  night,  when  lo  !  the  angel 
of  the  Lord  came  upon  them,  and  the  glory  of  the  Lord 
shone  round  about  them,  and  they  were  sore  afraid. 
And  the  angel  said  unto  them,  Fear  not,  for  behold,  I 
bring  you  good  tidings  of  great  joy,  which  shall  be  to  all 
people ;  for  unto  you  is  born  this  day,  in  the  city  of  David, 
a  Saviour  which  is  Christ  the  Lord." — Luke  2 :  8-11. 

HEBRON. — Hebron  is  one  of  the  most  ancient  cities  in 
the  world  still  existing.  "It  was  built/'  says  a  sacred 
writer,  "  seven  years  before  Zoan  in  Egypt."-Num.  13 :  22, 
and  was  a  well-known  town  when  Abraham  entered 


SCIOPTICON    MANUAL.  107 

Canaan  3780  years  ago.  Sarah  died  at  Hebron,  and 
Abraham  then  bought  from  Ephron,  the  Hittite,  the  cave 
of  Machpelah,  to  serve  as  a  family  tomb.  Jacob  gave 
commandment  to  his  sons,  "  Bury  me  with  my  fathers 
in  the  cave  that  is  in  the  field  of  Ephron,  the  Ilittite. 
There  they  buried  Abraham  and  Sarah  his  wife.  There 
they  buried  Isaac  and  Kebekah  his  wife,  and  there  I 
buried  Leah."  And  his  sons  did  unto  him  according  as 
he  commanded  them,  and  buried  him  in  the  cave  of 
Machpelah.  The  massive  walls  of  the  harem  or  mosque, 
within  which  the  cave  lies,  forms  the  most  remarkable 
object  in  the  whole  city.  Hebron  now  contains  about 
5000  inhabitants,  of  whom  some  fifty  familie's  are  Jews. 
It  is  picturesquely  situated  in  a  narrow  valley,  sur- 
rounded by  rocky  hills. 

"  THE  POOL  OF  SILOAM  "  is  one  of  the  few  undisputed 
localities  in  Jerusalem,  still  retaining  its  old  name.  It 
is  of  no  considerable  size,  being  eighteen  feet  broad  and 
nineteen  deep.  It  is,  however,  never  full,  having  in  it 
usually  about  four  feet  of  water.  It  is  a  complete  ruin. 
It  was  to  this  pool  that  our  Lord  sent  the  blind  man, 
after  he  had  anointed  his  eyes  with  clay.  It  was  to 
Siloam  that  the  Levite  was  sent  with  the  golden  pitcher 
on  the  last  day  of  the  feast  of  Tabernacles,  and  from  it 
he  brought  the  water  which  was  then  poured  over  the 
sacrifice,  in  remembrance  of  the  water  that  flowed  from 
the  rock  Eephidim. 

GENESARET,  OR  SEA  OF  GALILEE. — This  view  exhibits 
a  portion  of  that  large  inland  sea  through  which  the 
Jordan  flows  from  north  to  south.  It  is  some  thirteen 
miles  long  and  six  broad,  and  is  remarkable  for  the  low- 
ness  of  the  basin  in  which  it  lies,  being  about  seven 
hundred  feet  below  the  level  of  the  ocean.  No  less  than 


108  SCIOPTICON    MANUAL. 

nine  cities  stood  on  the  very  shores  of  the  lake.  A 
great  part  of  our  Lord's  life  was  spent  near  it.  Here 
he  taught  the  people  out  of  Peter's  ship,  and  wondrously 
filled  the  nets,  so  that  they  brake;  walked  on  the  waves, 
rebuked  the  winds,  and  calmed  the  sea.  From  the  castle 
Saphet  a  vast  panorama,  embracing  a  thousand  points 
of  historic  and  sacred  interest,  is  presented  to  the  eye. 
Saphet  is  truly  a  high  tower.  Here  are  beveled  stones, 
as  heavy  and  as  ancient  in  appearance  as  any  ruins  in 
the  country,  and  they  prove  that  this  has  been  a  place 
of  importance  from  a  remote  age. 

BATHS  A$TD  CITY  OF  TIBERIAS. — The  sea  of  Galilee  is 
also  called  the  sea  of  Tiberias,  from  the  celebrated  city 
of  that  name.  About  a  mile  south  from  the  original 
site  of  the  city,  along  the  shores,  are  the  celebrated 
warm  baths,  which  the  Roman  naturalists  reckoned  as 
among  the  greatest  known  curiosities  of  the  world.  The 
water  of  these  springs  has  a  sulphurous  and  most  dis- 
agreeable smell,  and  is  so  nauseous  that  it  cannot  be 
drank,  and  is  not  used  internally.  The  baths,  however, 
have  a  great  medicinal  reputation.  There  is  but  one  com- 
mon bathing  cistern,  where  the  water  is  hot  enough  to 
cook  an  egg — from  130°  to  140°  Fahrenheit — yet  it  is 
always  crowded  with  the  lame,  the  halt,  the  withered, 
and  the  leprous. 

NAZARETH. — Nazareth  is  situated  among  the  hills 
which  constitute  the  south  ridges  of  Lebanon,  just  be- 
fore they  sink  into  the  Plain  of  EsdrsBlon.  It  derives 
its  celebrity  from  its  connection  with  the  history  of 
Christ.  The  "Fountain  of  the  Virgin 'Ms  situated  at 
the  northeastern  extremity  of  the  town.  The  brow  of  the 
hill  is  still  called  the  Mount  of  the  Precipitation  (Luke 
14:  29),  and  is  half  a  league  southward  of  Nazareth. 


SCIOPTICON    MANUAL.  109 

THE  YALLEY  OF  JEHOSHAPHAT. — The  Valley  of  Jehosh- 
aphat  was  the  favorite  bury  ing-place  of  the  Jews  from 
the  earliest  times;  accordingly  we  find  in  it  a  number  of 
remarkable  tombs.  The  monolith  of  Zachariah  is  a 
cubical  block  of  about  twenty  feet  every  way,  and  sur- 
mounted by  a  flattened  pyramid  of  at  least  ten  feet 
elevation.  It  is  one  solid  mass  hewn  out  of  the  moun- 
tain, the  adjacent  rock  being  cut  away,  so  that  it  stands 
entirely  detached;  there  is  no  known  entrance.  The 
tomb  of  St.  James  shows  a  fine  front  to  the  west.  The 
cave  extends  forty  or  fifty  feet  back  into  the  mountain. 
Some  two  hundred  feet  north  of  this  is  the  tomb  of 
Absalom.  The  entire  height  of  this  very  striking  "pil- 
lar" cannot  be  less  than  forty  feet.  Believing  it  to  be 
Absalom's  tomb,  the  natives  throw  stones  against  it, 
and  spit  at  it  as  they  pass  by.  Close  to  this  monument, 
on  the  northeast,  is  the  reputed  tomb  of  Jehoshaphat. 

"  THE  DEAD  SEA/'  says  Dr.  Thomson,  "  without  any 
reference  to  what  others  have  said,  I  can  testify  to  the 
following  facts  :  The  water  is  perfectly  clear  and  trans- 
parent. The  taste  is  bitter  and  salt,  far  beyond  that  of 
the  ocean.  It  acts  upon  the  tongue  and  mouth  like 
alum,  smarts  in  the  eyes  like  camphor,  produces  a  burn- 
ing, pricking  sensation,  and  it  stiffens  the  hair  of  the 
head  much  like  pomatum.  The  water  has  a  much 
greater  specific  gravity  than  the  human  body,  and 
hence  I  did  not  sink  lower  than  to  the  arms  when 
standing  perpendicularly  in  it.  We  saw  no  fish  nor 
living  animals  in  the  water,  though  birds  were  flying 
over  it  unharmed.  All  of  us  noticed  an  unnatural 
gloom,  not  upon  the  sea  only,  but  also  over  the  whole 
plain  below  Jericho.  It  had  the  appearance  of  Indian 
summer  in  America,  and  like  a  vast  funeral  pall  let 


110  SCIOPTICON    MANUAL. 

down  from  heaven,  it  hung  heavily  over  the  lifeless 
bosom  of  this  mysterious  lake."  Its  area  is  about  two 
hundred  and  fifty  square  geographical  miles.  At  its 
northern  end  it  receives  the  stream  of  the  Jordan.  The 
depression  of  its  surface,  and  the  depth  which  it  attains 
below  that  surface,  combined  with  the  absence  of  any 
outlet,  render  it  one  of  the  most  remarkable  spots  on 
the  globe. 

THE  FORDS  OP  THE  JORDAN. — The  reach  of  the  Jor- 
dan here  shown  is  the  place  to  which  pilgrims  of  the 
Greek  Church  resort  every  year,  in  Holy  Week,  to  renew 
their  baptism  by  bathing  in  the  Jordan,  and  it  is  the 
spot  which  tradition  points  out  as  the  place  where  our 
Saviour  was  baptized.  The  Jordan  is  a  rapid  and  tor- 
tuous stream,  interrupted  by  many  rapids,  and  annually 
"  overflows  his  banks  all  the  time  of  harvest."  So  far 
as  this  overflow  extends  there  is  a  belt  of  luxurious 
vegetation,  but  beyond  it  the  ground  is  barren. 


EGYPT. 

From  time  immemorial  Egypt  has  been  an  object  of 
interest  to  the  rest  of  the  world.  Almost  the  dawn  of 
Scripture  light  breaks  upon  the  rocks  and  sands  of  this 
wonderful  valley,  whose  vast  river  diffuses  fertility 
wherever  it  flows.  Here  the  children  of  Israel  served 
the  Pharaohs  four  hundred  and  thirty  years  and  grew 
into  a  great  nation.  From  the  banks  of  the  Nile  they 
set  out  on  that  marvelous  pilgrimage  to  Sinai  and  Zion, 
those  two  rocky  pinnacles  whence  the  splendors  of  the 
Law,  and  the  mild  and  beneficent  radiance  of  the  Gospel, 
beamed  forth  upon  mankind. 


SCIOPTICON    M  A  NU  A  L.  Ill 

A  TRAVELER'S  NILE  BOAT,  OR  "  DAHABEEK." — The 
traveler  who  visits  Egypt  can  avail  himself  of  public 
conveyance  as  far  as  Cairo,  but  if  ho  desire  to  visit  the 
remains  of  ancient  grandeur  that  lie  to  the  south,  he 
must  engage  a  Nile  boat,  which  becomes,  for  the  time 
being,  both  the  means  of  locomotion  and  his  home;  and 
as  all  the  points  of  interest  are  near  the  river,  a  more 
commodious  plan  for  visiting  them  could  hardly  be  de- 
vised. As  there  are  no  towns  above  Cairo  everything 
in  the  shape  of  comforts  and  luxuries  must  be  provided 
before  setting  out. 

STREET  IN  CAIRO. — The  streets  in  Cairo,  like  those  of 
most  Oriental  towns,  are  narrow,  being  some  eight  or  ten 
feet  wide.  The  houses  are  mostly  three  stories  in  height, 
each  story  projecting  over  the  other,  and  the  plain  stone 
walls  are  either  whitewashed  or  striped  with  horizontal 
red  bars,  as  seen  in  the  picture. 

The  beautiful  latticed  windows,  "  masharobeahs/'  are 
the  chief  ornament  of  the  old  Mameluke  houses  in  Cairo. 
The  wood  seems  rather  woven  in  the  loom  than  cut  with 
the  saw  and  chisel.*  Through  these  lattices  of  fine  net- 
work, with  borffofs  worked  in  lace-like  patterns,  and 
sometimes  tipped  with  slender  turrets,  the  Cairo  ladies 
sit  and  watch  the  crowd  passing  to  and  fro,  themselves 
unseen.  "  The  mother  of  Sisera  looked  out  at  a  window 
and  cried  through  the  lattice,  Why  is  his  chariot  so  long 
in  coming?" — Jud.  5  :  28.  Donkey-riding  in  the  streets, 
and  bazars,  is  almost  universal.  The  animals  are  small 
but  strong.  The  driver  runs  behind,  gives  the  donkey 
a  punch,  cries  "O  man,  take  care!  O  boy,  get  out  of 
the  way !"  and  the  rider  is  hurried  into  a  confusion  of 
other  donkeys,  loaded  camels,  water-carriers,  and  foot- 
men. To  one  unaccustomed  to  donkey-riding  it  seems 


112  SOIOPTICON    MANUAL. 

as  hazardous  as  going  on  foot.  The  streets  of  Cairo  are 
watered  several  times  a  day,  and  are  nearly  always  cool 
and  free  from  dust. 

FERRY  AT  OLD  CAIRO. — Old  Cairo  is  situated  about  two 
miles  from  modern  Cairo.  The  wonderful  clearness  and 
brilliancy  of  the  Eastern  atmosphere;  the  absence  of 
smoke,  charcoal  alone  being  burned ;  the  picturesque 
effect  of  the  ruin  into  which  many  of  its  great  monu- 
ments are  falling;  the  rich,  green  valley  of  the  Nile;  the 
river;  the  Pyramids  in  the  distance;  and  the  fading 
of  the  landscape  into  the  boundless  haze  of  the  Lybian 
desert,  constitutes  a  scene  which,  for  splendor  and  inter- 
est, is  perhaps  unequaled  in  the  world.  The  taste  for 
gaudy  and  fantastic  coloring  has  been  for  ages  a  distin- 
guishing feature  of  Eastern  embellishment.  The  alter- 
nate red  and  white  stripe  is  conspicuous  on  the  sails  of 
the  ferry  boats,  which  are  constantly  passing  back  and 
forth  between  Cairo  and  the  island  of  Ehoda  opposite. 
Here  we  have  a  group  of  Arabs  from  the  desert,  with 
their  camels,  dealers  in  oranges,  vegetables,  sugar-cane, 
&c.  For  picturesqueness  of  costume,  there  is  nothing 
like  the  East;  the  flow  of  the  drapery  so  simple  and 
natural,  the  coloring  so  deep  and  brilliant. 

TOMBS  OP  THE  MEMLOOK  KINGS  AT  CAIRO. — These 
tombs  are  fine  specimens  of  Saracenic  architecture,  and 
were  erected  in  the  thirteenth  and  fourteenth  centuries. 

PYRAMIDS. — The  Pyramids  of  Gizeh,  three  in  number, 
are  situated  about  eight  miles  from  Cairo,  and  should  be 
visited  by  the  tourist  before  entering  on  his  river  cruise. 
They  stand  on  a  ridge  of  stone,  which  has  been  so  cut  as 
to  form  part  of  the  basement.  The  great  Pjo-amid  is 
mainly  composed  of  blocks  of  limestone  brought  from  the 


SCIOPTICON     MANUAL. 


113 


quarries  on  the  other  side  of  the  Nile,  about  sixteen  miles 
off.  It  covers  about  13£  acres;  its  present  height  is  456 
feet;  it  must  formerly  have  been  about  480  feet  high.  Its 


sides  now  present  the  appearance  of  irregular  steps, 
varying  from  four  feet  eight  inches  to  one  foot  eight 
inches;  but  it  appears  to  have  been  covered  originally 
with  a  casing  of  polished  granite;  a  portion  of  the  cover- 
ing still  remains  on  the  second  Pyramid.  Herodotus 
tells  us  that  100,000  men  were  employed  twenty  years 
in  building  this  Pyramid,  which  appears  to  have  been 
chiefly  intended  as  a  mausoleum  of  its  founder.  The 
granite  covering  on  the  second  Pyramid  makes  its  ascent 
more  dangerous  than  the  first,  which  presents  no  other 
difficulty  than  the  ascent  of  a  rugged  staircase,  about 
four  hundred  feet  in  height,  in  which  the  steps  vary  from 
two  feet  to  a  little  more  than  four. 


114  SCIOPTICON     MANUAL. 

Near  the  Pyramids,  more  wondrous  and  more  awful 
than  all  else  in  the  land  of  Egypt,  there  sits  the  lonely 
Sphinx.  This  monument,  so  imposing  in  its  aspect,  even 
in  the  mutilated  state  to  which  it  has  been  reduced,  has 
always  excited  the  admiration  of  those  who  possessed 
sufficient  knowledge  of  art  to  appreciate  its  merits  at' a 
first  glance.  The  contemplative  turn  of  the  eye,  the 
mild  expression  of  the  mouth,  and  the  beautiful  dispos- 
ition of  the  drapery  at  the  angle  of  the  forehead  suffi- 
ciently attest  the  admirable'  skill  of  the  artist  by  whom 
it  was  executed. 

HELIOPOLIS. — Heliopolis,the  sacred  city,  the  On,  where 
Joseph's  wife,  Asenath,  lived.  A  few  scattered  blocks,  a 
solitary  obelisk  covered  with  hieroglyphics,  these,  with 
some  mounds  of  sand  and  rubbish,  are  all  that  is  left  to 
mark  the  site  of  the  once  priestly  city. 

THE  SIMOOM. — In  crossing  the  desert  travelers  are 
frequently  exposed  to  the  Simoom  or  sand  storm.  Its 
approach  is  indicated  by  a  redness  in  the  air,  the  sky  is 
suddenly  overcast,  clouds  of  hot  sand  obscure  every- 
thing, and  often  render  further  progress  for  the  time 
impossible.  The  whole  caravan,  camels  and  men,  then 
lie  prostrate  on  the  ground  till  it  passes  over. 

COLOSSAL  STATUES  OF  THEBES. — The  Colossi  of  the 
plain.  These  immense  sitting  figures,  fifty-three  feet 
above  the  plain,  which  has  buried  their  pedestals,  were 
erected  by  Amunoph  III,  and  were  originally  in  front  of 
a  large  temple,  of  which  only  the  ground-plan  remains. 
The  more  distant  statue  is  the  vocal  Mcmnon  of  history. 
An  inscription  made  by  one  of  the  Eoman  emperors 
records  the  hearing  of  musical  sounds. 


SCIOPTICON     MANUAL.  115 

OBELISK  AND  PROPYLON  LUXOR. — Part  of  the  ruins 
of  Thebes  shows  the  arrangements  that  the  Egyptians 
adopted  in  their  temples.  The  entrance  by  a  doorway 
between  two  immense  moles  of  stonework,  termed  pylse. 
The  victories  of  Barneses  are  sculptured  on  the  face  of 
the  pylon;  but  his  colossi,  solid  figures  of  granite,  which 
sit  on  either  side  of  the  entrance,  have  been  much  de- 
faced. The  lonely  obelisk,  seen  a  little  in  advance  to 
the  left,  is  more  perfect  than  its  mate,  which  now  stands 
in  the  Place  de  la  Concorde,  at  Paris. 

COLOSSAL  STATUE  REMESES. — The  mutilated  statue  in 
this  view  was  the  largest  monolithic  figure  transported 
by  the  Egyptians  from  the  place  where  it  was  quarried. 
Its  weight  when  entire  was  nearly  nine  hundred  tons, 
and  this  statue  now  lies  in  enormous  fragments  around 
its  pedestal.  The  statue  in  its  sitting  position  must  have 
been  nearly  sixty  feet  in  height,  and  is  the  largest  in 
the  world;  one  of  its  toes  is  a  yard  in  length.  The  Turks 
and  Arabs  have  cut  several  mill-stones  out  of  its  head 
without  any  apparent  diminution  of  its  size. 

APPROACH  TO  THE  TEMPLE  AT  KARNAK. — From  the 
entrance  of  the  temple  at  Luxor  to  the  pylon  at  Karnak, 
a  distance  of  a  mile  and  a  half,  an  avenue  of  colossal 
sphinxes  once  existed.  The  sphinxes  have  disappeared 
and  an  Arab  road  leads  over  the  site.  On  reaching  the 
vicinity  of  Karnak  the  camel  path  drops  into  a  broad 
excavated  avenue,  lined  with-  fragments  of  sphinxes. 
As  you  advance  the  sphinxes  are  better  preserved  and 
remain  seated  on  their  pedestals,  but  they  have  all  been 
decapitated.  Though  of  colossal  proportions,  they  are 
seated  so  close  to  each  other  that  it  must  have  required 
nearly  two  thousand  to  form  the  double  row  to  Luxor. 
The  avenue  finally  reaches  a  single  pylon,  of  majestic 


116  SCIOPTICON     MANUAL. 

proportions,  built  by  one  of  the  Ptolemys  and  covered 
with  profuse  hieroglyphics.  Passing  through  this,  an^ 
other  pylon,  followed  by  a  pillared  court,  and  a  temple 
built  by  the  later  Bemisides. 

HALL  OF  COLUMNS  AT  KARNAK. — Three  thousand 
years  ago  and  this  forest  of  columns  was  standing,  Hero 
Cambyses  stayed  his  chariot-wheels  to  gaze  in  wonder  at 
the  triumphs  of  architecture.  Here  Sesostris  was  wel- 
comed back  with  the  loud  acclaim  of  millions  from  his 
conquests.  The  Ciesars  were  awed  into  humility  when 
they  trod  these  aisles,  and  even  the  Arab  hosts,  as  they 
swept  by  on  the  tide  to  victory,  paused  to  admire;  and 
the  armies  of  France,  as  they  rushed  in  pursuit  of  the 
flying  Memlooks,  were  so  struck  with  amazement  at 
the  ruins  that  they  fell  upon  their  knees  in  homage  and 
rent  the  air  with  their  shouts  of  applause. 

The  main  aisle  is  composed  of  an  avenue  of  twelve 
pillars,  six  on  each  side,  each  thirty-six  feet  in  circum- 
ference and  nearly  eighty  in  height.  Ponderous  masses 
of  sculptured  stone.  The  spreading  bell  of  the  lotus 
blossoms  crown  them  with  an  atmosphere  of  lightness 
and  grace.  On  each  side  of  the  main  aisle  are  seven  other 
rows  of  columns,  one  hundred  arid  twenty-two  in  all,  of 
immense  size,  and  so  close  as  sometimes  not  to  allow  a 
column  that  has  lost  its  erect  position  to  fall  to  the 
ground.  They  date  from  the  time  of  Barneses  III,  the 
Sesostris  of  Greek  writers.  These  columns  are  a  good 
illustration  of  the  way  in  which  the  Egyptians  covered 
all  parts  of  their  buildings  with  inscriptions. 

THE  OBELISKS  AT  KARNAK. — These  obelisks,  the  most 
ancient  now  standing  in  Egypt,  date  about  1800  B.  C. 
They  are  granite,  and  retain  the  sharpness  of  their 
angles  in  a  wonderful  manner.  This  view  shows  in  a 


SCIOPTICON     MANUAL.  117 

striking  manner  the  desolation  that  prevails  over  all 
these  Egyptian  ruins.  The  total  circumference  of  Kar- 
nak,  including  its  numerous  pyl^e  or  gateways,  is  a  mile 
and  a  half.  The  row  of  columns  seen  in  the  picture  are 
part  of  the  Hall  of  Columns. 

THE  APPROACH  TO  PHIL.E. — Philas,  the  "  Jewel  of  the 
Nile,"  is  situated  a  short  distance  from  those  rapids  of 
the  Nile,  known  as  the  first  cataracts.  These  cataracts 
are  formed  by  the  bed  of  the  river  being  crossed  by  a 
formation  of  granite,  through  which  it  has  cut  its  way, 
producing  a  series  of  rapids.  Opposite  to  these  cataracts 
stood  the  ancient  city  of  Syene.  It  was  from  the  quarries 
at  Syene  that  the  Egyptians  obtained  their  monoliths, 
whether  obelisks  or  statues.  These  were  sculptured  on 
the  spot,  and  then  transported  by  the  labor  of  men  to 
the  places  where  they  were  to  be  erected.  The  island 
of  Philse  contains  about  fifty  acres,  and  is  covered  with 
ruins  of  temples  and  palaces,  all  of  which  belong  to  the 
Ptolemaic  period.  The  basin  of  black  jagged  mountains 
folding  it  in  on  all  sides,  yet  half  disclosing  the  avenues 
to  Nubia  and  Egypt;  the  clusters  of  palms,  with  here 
and  there  a  pillar  or  wall  of  a  temple,  the  ring  of  the 
bright  river,  no  longer  turbid,  as  in  lower  Egypt;  of 
these  it  is  the  centre,  as  it  was  once  the  focus  of  their 
beauty. 

YIEW  ON  THE  ISLAND  OF  PHIL^. — The  temple  which 
belongs  to  the  era  of  the  Ptolemys,  and  is  little  more 
than  two  thousand  years  old,  was  built  by  various  mon- 
archs,  and  is  very  irregular  in  its  plan.  The  columns  of 
the  temple  are  very  different  from  those  of  Luxor  and 
Karnak,  indicating  the  result  of  the  contact  of  Greek  and 
Egyptian  systems  of  architecture.  Above  the  true  capi- 
tal is  a  square  block  that  bears  on  its  four  sides  the  head 


118  SCIOPTICON     MANUAL. 

of  Osiris,  under  the  form  of  a  bull.  It  was  into  this 
form  of  idolatry  that  the  Israelites  were  so  constantly 
lapsing,  termed  in  Scripture,  the  Worship  of  the  Golden 
Calf. 

PHARAOH'S  BED,  PHIL^E. — This  temple  is  almost  per- 
fect; it  never  had  and  never  was  intended  to  have  a  roof. 
It  is  one  of  that  class  termed  Hypoethral  temples,  from 
their  being  open  to  the  sky.  Its  name,  Pharaoh's  Bed, 
is  derived  from  a  tradition  that  Osiris  was  buried  at 
Philse,  and  from  this  it  was  that  the  Egyptians  were  in 
the  habit  of  swearing  by  him  who  lies  at  Philae. 

SCULPTURED  GATEWAY. — This  is  a  good  illustration  of 
the  way  in  which  almost  all  parts  of  the  buildings  were 
covered  with  inscriptions.  The  large  figures  on  this 
doorway  were  originally  painted  in  bright  colors,  and 
on  some  of  these,  patches  of  the  original  paint  still  re- 
main. 

TEMPLE  EDFOU. — This  is  perhaps  the  best  specimen 
extant  of  the  pylon  of  the  Egyptian  temples;  it  is  up- 
wards of  one  hundred  feet  in  height,  but  a  considerable 
part  of  the  base  is  covered  up  with  sand,  which  has  also 
almost  filled  up  the  area  of  the  temple.  In  this  part 
the  valley  of  the  Nile  is  wider  than  in  many  places;  it 
varies  from  about  ten  miles  in  width  to  only  enough  to 
allow  of  the  passage  of  the  river.  Many  of  the  temples 
are  built  close  to  the  waters  of  the  sacred  river. 

TEMPLE  OP  KALABSHE,  NUBIA. — The  space  inclosed 
within  the  ruins  of  this  temple  is  covered  with  sculp- 
tured figures,  among  which  the  most  remarkable  is  the 
representation  of  a  human  sacrifice,  where  the  victim, 
whose  whole  clothing  consists  of  a  scanty  waist-cloth, 
is  on  his  knees  with  his  hands  tied  behind  his  back. 


SCIOPTICON     MANUAL.  119 

Behind  him  stands  a  priest  with  lofty  mitre,  who  with 
one  hand  holds  him  by  his  long  hair,  while  in  the  other 
he  brandishes  a  small  axe,  ready  to  strike  off  his  head. 
This  horrid  scene  takes  place  in  the  presence  of  Osiris 
Hierax,  who  is  seated  on  his  throne  enjoying  the  spec- 
tacle. 

THE  SHADOOF. — This  view  presents  a  scene  on  the 
Nile.  A  group  of  stately  palm  trees,  tall  and  slender, 
with  feathery  plumes  on  their  proud  heads,  and  large 
clusters  of  golden  fruit.  The  shadoof  is  a  simple  con- 
trivance for  raising  water;  a  method  very  common  both 
in  ancient  and  modern  Egypt.  It  consists  of  a  lever 
moving  on  a  pivot,  which  is  loaded  at  one  end  with  a 
lump  of  clay,  or  some  other  weight,  and  has  at  the  other 
a  bowl  or  basket,  as  seen  in  the  picture.  Wells  have 
usually  troughs  of  wood  or  stone,  into  which  the  water 
is  emptied  for  the  use  of  persons  or  animals  coming  to 
the  well. 

VIEWS   OF   INTEREST    IN   DIFFERENT    PARTS    OF   THE 
WORLD. 

These  are  described  in  gazetteers,  and  to  some  extent 
in  school  geographies.  Some  lecturors  appear  as  very 
accomplished  travellers  by  using  well-written  guide-books. 

For  an  acquaintance  with  historical  pictures,  we  may 
consult  the  histories  of  the  times. 

With  regard  to  "  views  conveying  moral  lessons,"  the 
name  of  each  slide  affords  a  text  upon  which  the  lecturer 
may  base  what  remarks  he  may  have  to  offer. 

NURSERY    TALES. 

English  catalogues  contain  many  familiar  poems  and 
stories,  particularly  the  nursery  tales,  which  are  illus- 
trated by  lantern  slides.  Not  having  room  to  reprint 


120  SCIOPTICON     MANUAL. 

these  here,  we  would  refer  to  the  toy  books  everywhere 
sold  for  these  wonderful  specimens  of  English  literature. 
At  the  risk,  however,  of  making  the  rest  of  our  matter 
seem  prosy  by  contrast,  we  will  copy  just  the  closing 
part  of  the  description  of  a  long  slide  of  animals,  to 
indicate  how  much  is  made  to  depend  on  words  and 
music,  and  how  little  on  the  merits  of  the  slide. 

[Sound  of  Horn.     Music.     Last  tune  of  the  "  LANCERS."] 

Yes,  here  we  are  in  full  cry  !     The  real  thing,  too ! ! 

"  Old  Mother  Slipper  Slopper  jumped  out  of  bed, 
And  out  of  the  window  she  poked  her  head ; 
Husband  1  O  husband  !  the  gray  goose  is  dead, 
And  the  fox  is  gone  out  of  the  town,  O  I  " 

Yes,  there  he  goes,  and  the  old  lady  after  him,  and  she 
has  called  up  John,  the  servant,  and  he  joins  in  the  chase, 
and  old  Mr.  Slipper  Slopper  comes  next ;  but  he's  rather 
behind,  as  he's  been  to  call  "  Bumble,"  the  parish  con- 
stable, who  has  come  out  with  his  staff  to  catch  the  thief. 
Tally  ho ! 

And  now,  my  children,  recollect  I  told  you  that  the 
lion  was  the  king  of  the  beasts,  and  so,  as  a  conclusion 
to  this  entertainment,  I  shall  show  you  how  he  kept  his 
court.  (Music?) 

There  he  is,  sitting  in  full  state ;  and  now,  if  our  kind 
friend  at  the  piano  will  play  a  "  March,"  you  shall  see  a 
grand  procession,  and  all  the  animals  passing  in  order 
before  him. 

["  GRAND  MARCH,"  during  which  the  slide  is  moved  slowly. ~\ 

GOOD  NIGHT. 
Tune  and  Motto,  u  GOD  SAVE  THE  QUEEN." 


SCIOPTICON     MANUAL.  121 


COMPOSITION    PICTURES. 

The  miscellaneous  views  in  Class  X  are  mostly  com- 
position pictures,  suggesting  their  own  descriptions. 
Take,  for  example,  this  picture  of  the  milkmaid. 


The  cow,  so  gently  submitting  to  the  maiden's  manip- 
ulations, evidently  feels  quite  at  home.  Appearances 
indicate  that  she  is  capable  of  giving  a  pailful  of  milk. 
She  has  taken  the  position  convenient  for  the  milkmaid, 
who,  for  the  time,  has  suspended  operations  for  a  social 
chat  with  the  young  farmer  who  is  resting  upon  the  barn- 
yard gate.  We  may  not  hear  what  they  say,  but  little 
sister,  doubtless,  is  verifying  the  old  adage,  that  "little 
pitchers  have  large  ears." 

The  two  reclining  animals  may  have  borne  the  yoke 
seen  at  the  left,  during  working  hours,  and  are  now 
wooing 

"  Tired  nature's  sweet  restorer,  balmy  sleep." 

The  animal  at  the  right  is  too  young  for  active  service, 
and  has  not  yet  experienced  the  ills  of  a  laborious  life, 
of  which  the  harrow  near  by  is  a  suggestive  emblem. 

9 


122  SCIOPTICON     MANUAL. 

The  old  hen  in  front  cannot  boast  a  very  numerous 
brood,  but  the  fewer  mouths  the  better  cheer. 

"  Throw  some  crumbs  and  scatter  seed, 
And  let  the  hungr}'  chickens  feed." 

The  farmhouse  OD  the  rising  ground,  nestled  among 
the  trees,  has  an  imposing  appearance,  but  it  is  nothing 
to  be  compared  to  the  elegant  castles  built  in  the  air  by 
that  admiring  young  farmer  and  the  loving  maiden. 
May  the  course  of  their  true  love  ever  run  smooth. 

STATUART. 

Statuary  and  many  other  pictures  may  also  be  an- 
nounced, and  then  described  by  what  the  picture  itself 
shows,  as  in  the  example  following : 

THE  COUNCIL  OF  WAR,  by  John  Eodgers. — President 
Lincoln  is  seated  and  holding  before  him  a  map  of  the 
campaign.  Secretary  Stanton  stands  behind  his  chair, 
wiping  his  glasses  and  listening  to  General  Grant,  who 
is  explaning  his  plan,  which  he  is  pointing  out  on  the 
map. 

THE  SEASONS,  by  Thorwaldsen. — Four  circular  bas- 
reliefs,  viz. : 

Spring. — A  female  figure,  attended  by  two  genii  bear- 
ing baskets  of  flowers. 

Summer. — A  harvest  scene,  with  a  group  of  reapers. 

Autumn. — A  hunter  returns  to  his  home  bearing  game; 
a  woman  and  child  (seated  beneath  a  grape  vine)  receive 
him. 

Winter. — An  old  man  warming  his  hands  over  a  brazier, 
while  an  old  woman  lights  her  lamp. 

11  Behold,  fond  man  ! 

See  here  thy  pictured  life  ;  pass  some  few  years, 
Thy  flowering  spring,  thy  summer's  ardent  strength, 


SCIOPTICON    MANUAL.  123 

Thy  sober  autumn  fading  into  age, 

And  pale  concluding  winter  comes  at  last 

And  shuts  the  scene." 


MOVABLE    SLIDES. 

These  of  course  tell  their  own  story.  Now  and  then, 
an  appropriate  recitation  can  be  found  for  them. 

The  swan  floating  upon  the  moving  waters,  for  in- 
stance, may  be  assumed  as  illustrating  the  legend  that 
her  first  and  only  song  is  sung  as  she  floats  down  the 
river  en  her  dying  day. 

"  'Tis  the  swan,  my  love, 
She  is  floating  down  from  her  native  grove, 
No  loved  one  now — no  nestling  nigh — 
She  is  floating  down  by  herself  to  die. 
Death  darkens  her  eye  and  unplumes  her  wings, 
Yet  the  sweetest  song  is  the  last  she  sings, 
Live  so,  my  love,  that  when  Death  shall  come, 
Swan-like  and  sweet,  it  may  waft  thee  home." 

Spectators,  in  the  limited  time  given  them,  can  hardly 
be  expected  to  take  in  all  the  details  of  a  complex  view, 
without  more  or  less  of  this  particularizing,  which  can  be 
resorted  to  as  occasion  requires,  therefore,  in  connection 
with  a  wide  range  of  subjects. 

SCIENTIFIC    SLIDES,    Ac. 

The  illustrations  enumerated  in  the  Scientific  Depart- 
ment, of  the  appended  catalogue,  are  suited  to  the  text- 
books in  common  use.  Works  on  natural  history  afford 
descriptions  of  beasts,  birds,  fishes,  reptiles,  and  insects. 
Botany  describes  plants  and  flowers. 

The  explanations  in  Wells's  Geology,  Cutter's  Physi- 
ology, &c.,  are  just  as  well  suited  to  the  corresponding 


124  8CIOPTICON    MANUAL. 

classes  of  lantern  slides,  because  they  are  mostly  after 
the  same  designs. 

The  set  of  long  astronomical  slides  has  from  time 
immemorial  been  accompanied  by  a  printed  lecture, 
which,  though  somewhat  antiquated,  still  answers  a 
pretty  good  purpose. 

Could  a  suitable  lecture  of  similar  shape  accompany 
each  of  the  forty  sets  of  scientific  illustrations,  it  would 
prove  advantageous  to  many,  and  it  would  do  no  harm 
to  any;  so  we  are  looking  for  something  of  the  sort  in 
the  near  future.  But  these  sets  of  scientific  slides  them- 
selves leave  scarcely  anything  to  be  desired  in  the  way 
of  fitness  and  excellence;  and  we  have,  moreover,  in 
the  Sciopticon  an  instrument  unrivaled  for  convenience 
combined  with  efficiency. 

As  before  intimated,  little  has  been  attempted  in  this 
chapter  but  to  indicate  some  of  the  ways  of  finding 
descriptions. 

When  the  use  of  the  magic  lantern  was  very  limited, 
its  slides  could  be  described  in  small  compass ;  but  now, 
a  work  that  should  describe  all  the  slides  in  use,  would 
hardly  be  less  voluminous  than  the  Encvclopedia  Bri- 
tannica. 


SCIOPTICON   MANUAL.  125 


CHAPTER  IX. 


DESCRIPTION  OF  THE  SCIOPTICOW. 

[  From  the  Journal  of  the  Franklin  Institute.] 

"Our  attention  was  drawn  some  time  since  to  this 
very  decided  improvement  in  lanterns  illuminated  by 
ordinary  flames,  by  which  their  efficiency  is  so  greatly 
increased  that  many  results  can  be  reached  which  were 
heretofore  only  attainable  by  aid  of  the  lime  or  magne- 
sium lights. 

"The  most  important  feature  in  this  apparatus  is  the 
lamp,  or,  as  it  might,  in  this  case,  be  called,  from  its 
appearance,  the  furnace.  This  source  of  action  to  the 
entire  machine  is  placed  in  a  cylindrical  chamber,  pro- 
vided with  a  chimney,  and  has  two  flat  wicks,  one  and  a 
half  inches  long,  parallel  to  each  other  and  to  the  axis 
of  the  chamber,  and  in  fact  the  optical  axis  of  the 
instrument.  The  flames,  or  rather  sheets  of  flame, 
that  rise  from  these  wicks  are  drawn  together  by  the 
arrangement  of  the  draft,  and  so  form  a  pointed  ridge 
or  edge  of  intense  light  in  the  axis  of  the  condensers. 
We  have,  on  various  occasions,  alluded  to  the  fact  long 
ago  pointed  out  by  Rumfort,  that  flame  was  practically 
transparent.  Here  this  property  is  utilized,  and  by  rea- 
son of  it  we  can  get  through  the  condenser  all  the  accu- 
mulated brightness  of  the  long  line  of  light,  one  and  a 
half  inches  deep. 

"We  have  witnessed  a  number  of  experiments  with 
this  lantern,  and  can  fully  indorse  it  as  a  great  advance 
upon  any  thing  before  used  in  the  shape  of  a  lamp-illu- 
minated magic  lantern. 


126  SCIOPTICON    MANUAL. 

"For  a  parlor  or  school  exhibition,  it  may  well  take 
the  place  of  the  far  more  troublesome  oxy-calcium  lan- 
tern, which  it  rivals  in  efficiency. 

"  There  are  many  details  of  construction  which  are  of 
very  ingenious  and  efficient  character,  among  which  we 
would  specially  notice  the  slide  for  pictures,  by  which, 
one  picture  being  in  use,  another  may  be  removed  and 
exchanged,  and  then,  by  a  single  movement,  brought 
into  the  field,  while  the  other  is  in  like  manner  ready 
for  substitution." 

THE  MAGIC  LANTERN  FROM   1650   TO   1870. 

[From  the  Scientific  American.] 

"The  invention  of  the  Magic  Lantern  dates  back  to 
1650,  and  is  attributed  to  Professor  Kircher,  a  German 
philosopher  of  rare  talents  and  extensive  reputation. 
The  instrument  is  simple  and  familiar.  It  is  a  form  of 
the  microscope.  The  shadows  cast  by  the  object  are, 
by  means  of  lenses,  focused  upon  something  capable  of 
reflection ,  such  as  a  wall  or  screen .  No  essential  changes 
in  the  principles  of  construction  have  been  made  since 
the  time  of  Kircher;  but  the  modern  improvements  in 
lenses,  lights,  and  pictures  have  raised  the  character  of 
the  instrument  from  that  of  a  mere  toy  to  an  apparatus 
of  the  highest  utility.  By  its  employment  the  most 
wonderful  forms  of  creation,  invisible,  perhaps,  to  the 
eye,  are  not  only  revealed,  but  reproduced  in  gigantic 
proportions,  with  all  the  marvelous  truth  of  nature  itself. 
The  success  of  some  of  the  most  celebrated  demonstra- 
tions of  Faraday,  Tyndall,  Doremus,  Morton,  and  others, 
was  due  to  the  skilful  use  of  the  Magic  Lantern.  As  an 
educator,  the  employment  of  this  instrument  is  rapidly 
extending.  No  school  apparatus  is  complete  without  it; 


8CIOPTICON     MANUAL.  127 

and  now  that  transparencies  are  so  readily  multiplied  by 
photography  upon  glass,  upon  mica,  or  gelatin,  by  the 
printing  press  or  the  pen,  it  is  destined  to  find  a  place 
in  every  household;  for  in  it  are  combined  the  attrac- 
tive qualities  of  beauty,  amusement,  and  instruction. 

"  The  electric  light  affords  probably  the  strongest  and 
best  illumination  for  the  Magic  Lantern;  then  comes 
the  magnesium  light ;  but  their  use  is  a  little  trouble- 
some and  rather  expensive ;  next  to  these  in  illuminating 
power  is  the  oxy-hydrogen  or  Drummond  light.  The 
preparation  of  the  gases  and  the  use  of  the  calcium 
points  involve  considerable  skill. 

"Need  has  long  been  felt  for  some  form  of  the  Magic 
Lantern  having  a  strong  light,  but  more  easily  produced 
than  any  of  those  just  mentioned;  and  this  has  at  last 
been  accomplished,  after  several  years'  study  and  experi- 
ment, by  Professor  L.  J.  Marcy. 

"  The  Sciopticon  is  the  name  of  his  new  instrument, 
and  from  actual  trial  we  find  that  it  posseses  many 
superior  qualities.  Its  lenses  are  excellent,  and  in  illu- 
minating power  its  light  ranks  next  to  the  oxy-hydro- 
gen. The  Sciopticon  light  is  produced  from  ordinary 
coal  oil,  by  an  ingenious  arrangement  of  double  flames, 
intensifying  the  heat  and  resulting  in  a  pencil  of  strong 
white  light.  Professor  Marcy's  instrument  is  the  per- 
fection of  convenience,  simplicity,  and  safety.  Any  one 
may  successfully  work  it,  and  produce  the  most  brilliant 
pictures  upon  the  screen.  It  is  peculiarly  adapted  for 
school  purposes  and  home  entertainment.  Those  who 
wish  to  do  a  good  thing  for  young  people  should  provide 
one  of  these  instruments.  Photographic  transparencies 
of  remarkable  places,  persons,  and  objects,  may  now  be 
purchased  at  small  cost,  while  there  is  no  end  to  the 
variety  of  pictures  which  may  be  drawn  by  hand  at 

7 


128  SCIOPTICON    MANUAL. 

home,  upon  mica,  glass,  or  gelatin,  and  then  reproduced 
upon  the  screen  by  the  Sciopticon." 

TRAVELLING  BY  MAGIC. 

BY  EDWARD  L.   WILSON. 

Editor  of  the  Philadelphia  Photographer,  and  Photographic  World. 

Marcy's  Sciopticon  is  what  we  want  to  give  us  a  view 
of  the  world  at  large,  while  seated  in  our  own  drawing- 
room,  enjoying  all  the  comforts  of  home,  and  the  pleas- 
ures of  social  intercourse. 

Give  us  the  Sciopticon,  with  the  necessary  slides, 
before  a  screen  or  a  white  wall,  and  we  will  carry  you 
as  fast  or  as  slow  as  you  wish,  wherever  the  foot  of  man 
has  trod,  in  excellent  and  comfortable  style. 

First  we  look  upon  the  screen  and,  in  imagination,  we 
go  driving  along  over  the  Union  Pacific  .Railroad.  We 
visit  the  large  cities  on  our  way,  and  get  as  good  ideas 
of  their  grain  elevators  and  their  churches  as  if  we  stood 
by  their  side.  We  see  the  Mormon  tabernacle,  and  cap- 
ture Brigham  in  person  for  our  screen.  On  we  go,  over 
the  prairies,  amid  the  buffaloes,  dodging  under  the  great 
snow-sheds,  climbing  up  the  inclines  of  the  jagged  Si- 
erras, and  lo!  (not  "the  poor  Indian")  we  stand  watch- 
ing the  gambols  of  the  seals  in  San  Francisco  Bay, 
straining  our  eyes  to  reach  the  summit  of  El  Capitan  in 
the  Yosemite  Valley,  listening  to  the  rustlings  of  the 
Bridal  Veil,  or  clambering  up  the  sides  of  "  General 
Grant"  in  the  Mariposa  Grove. 

Or,  we  may  glide  up  the  Hudson,  capturing  the  Pali- 
sades, storming  the  Highlands,  wander  amid  the  seduc- 
tive music  of  Trenton  Falls,  cross  Lake  George,  "do" 
Saratoga,  "flee  to  the  mountains,"  squeeze  through  the 
Crawford  Notch,  clamber  up  Mount  Willard,  ascend 


SCIOPTICON    MANUAL.  129 

Mount  Washington  on  the  wonderful  railway,  descend 
to  the  Glen,  glide  around  to  the  Profile  House,  face 
Eagle  Cliff,  kiss  our  hands  to  the  "  Old  Man  of  the  Moun- 
tain," shake  up  the  echoes  on  the  lake,  and  dare  the 
boulder  in  the  flume,  all  in  one  half  hour. 

Then,  after  we  have  seen  Niagara  from  a  hundred 
standpoints,  views  made  in  winter  and  summer,  and 
travelled  up  the  Mississippi,  through  Watkin'f)  Glen,  in- 
haled the  freshness  of  White  Sulphur  Springs,  wandered 
among  the  wildernesses  of  North  Carolina,  and  seen  Flor- 
ida and  Cuba,  not  to  forget  the  Mammoth  Cave,  we  may 
go  over  to  Europe.  There  we  ascend  the  Alps  with  Prof. 
Tyndall,  go  down  into  the  caverns,  and  clamber  among 
the  icicles,  or  traverse  the  awful  glaciers  with  their 
yawning,  ever-hungry  crevices. 

Or  we  may  see  in  the  same  way  the  ruins  of  India, 
the  mysteries  of  Pompeii,  the  tombs  and  pyramids  of 
Egypt,  or  Koine's  seven  hills  covered  with  glories,  to 
say  nothing  of  humiliated  Paris  or  exultant  Germany. 

Everything  that  photography  can  produce  rnay  be 
served  up  in  excellent  style,  and  with  little  trouble 
through  the  instrumentality  of  Marcy's  Improved  Magic 
Lantern.  Last  evening  I  had  the  pleasure  of  entertain- 
ing and  delighting  a  whole  company  of  men,  women, 
and  children  for  an  hour  or  two  in  this  way,  at  the  ex- 
treme cost  of  five  cents  for  coal  oil ! 

The  great  efficiency  of  the  Sciopticon,  as  compared 
with  any  other  lamp-illuminated  lantern,  together  with 
its  simplicity,  symmetry,  and  compactness,  its  safety, 
convenience,  and  fitness  for  slides  of  every  variety  and 
for  various  philosophical  experiments,  makes  it  unri- 
valled for  home  and  school  purposes. 

No  doubt  Mr.  Marcy's  explanation  of  it  will  be  ap- 
preciated, and  I  need  only  add  that  I  would  not  want 


130  SCIOPTICON     MANUAL. 

to  be  without  a  Sciopticon  in  my  house.     It  gives  one 
such  enlarged  views  of  everything. 

SCIOPTICOJf  FOB  SUNDAY-SCHOOLS. 

BY  E.  D.  JONES,  ESQ., 
President  Missouri  State  Sunday-School  Association. 

11  While  the  great  aim  of  all  Sunday-school  effort  is  to 
teach  the  word  of  God,  seek  the  conversion  of  scholars, 
and  train  such  in  the  ways  of  holy  living,  yet  there  are 
appliances  and  helps  that  may  be  used  to  attract  and  in- 
terest young  minds  where  they  do  not  in  any  way  con- 
flict with  the  grand  object  of  the  school. 

"It  is  a  religious  institution,  and  its  interests  should 
be  welt  guarded  from  all  that  would  in  any  way  lower 
the  dignity  of  its  mission.  Some  time  since  I  introduced 
the  Sciopticon,  a  recent  improvement  in  the  line  of  the 
Magic  Lanterns,  of  which  Prof.  L.  J.  Marcy,  of  Phila- 
delphia, is  the  patentee. 

"  I  found  the  instrument  wonderfully  simple  in  con- 
struction and  management.  Its  lamp  burns  simple  coal 
oil  and  gives  a  most  intense  light,  and  in  the  production 
of  pictures  on  the  wall  or  on  the  screen  equals  any  of  the 
most  expensive  Magic  Lanterns,  with  calcium  lights, 
that  cost  so  much  labor  and  expense." 

SCIENCE  AT  HOME. 

(Communication  from  the  President  of  Franklin  Institute.) 

MR.  L.  J.  MARCY. 

DEAR  SIR:  During  the  winter  of  1872-73  1  was  in- 
terested in  lantern  experiments,  using  the  lime  light  as 
the  source  of  illumination.  At  the  same  time  I  made 
frequent  use  of  your  very  admirable  Sciopticon,  with 
oil  lamps.  The  readiness  with  which  it  can  be  adjusted 
and  made  ready  for  use  impressed  me.  For  parlor  use, 


8CIOPTICON     MANUAL.  131 

as  a  magic  lantern,  I  very  much  preferred  it  on  this 
account,  to  the  more  troublesome  lime  light.  Its  con- 
venience recommends  it  as  an  adjunct  to  the  school-room 
and  I  found  that  very  many  of  the  most  interesting  ex- 
periments in  physics,  usually  shown  in  a  lantern,  can  be 
readily  performed  with  the  Sciopticon.  My  good  friend, 
Prof.  Henry  Morton,  of  the  Stevens  Institute  of  Tech- 
nology, in  Hoboken,  has  already  described  many  of  these 
experiments  in  your  manual.  I  have  told  you  how  I 
have  repeated  many  of  them  with  very  little  expense 
in  the  way  of  apparatus,  and  I  would  now  suggest  to  the 
would-be  purchasers  of  your  lanterns,  that  should  they 
desire  to  use  it  as  an  adjunct  to  the  lecture  table,  they 
need  not  be  alarmed  at  the  expenditure  needed  to  pro- 
cure all  the  fixtures  required  to  perfect  it.  One  of  the 
chief  pleasures  in  its  use  is  in  the  improvising  of  what 
is  needed.  Those  who  have  long  purses  may  prefer  to 
purchase  all  needed  pieces  of  apparatus,  ready-made  to 
their  hand,  but  a  few  hints  may  serve  to  show  how  they 
can,  with  very  little  skill,  prepare  what  will  answer  their 
purpose.  As  an  illustration,  let  me  recall  the  very  pretty 
experiment  usually  called  the  broken  arrow,  which  is 
shown  to  illustrate  refraction.  As  an  object  in  the  lan- 
tern, a  brass  plate  having  an  arrow-shaped  opening  in 
it  (procurable  at  the  instrument  makers)  is  put  in  place, 
this  throws  upon  the  screen  a  white  arrow  on  a  dark 
ground ;  now,  if  in  front  of  the  brass  plate  a  strip  of 
thick  glass,  narrower  than  the  length  of  the  arrow,  be 
held  parallel  with  its  surface,  no  distortion  of  the  arrow 
image  will  be  seen;  but  if  the  glass  be  inclined  so  that 
the  rays  of  light  pass  through  it  obliquely,  a  piece  of 
the  arrow  will  seem  to  be  cut  out  and  be  moved  to  one 
side.  This  is  a  striking  illustration  and  can  be  impro- 
vised quite  readily,  as  follows :  Procure  some  slips  of 


132  SCIOPTICON    MANUAL. 

good  window  glass,  of  the  size  used  for  magic  lantern 
slides  (I  prefer  3x4),  some  tin-foil,  such  as  paper-hangers 
paste  on  damp  walls  before  papering,  and  some  paste 
made  of  gum  tragacanth ;  with  a  sharp  knife,  laying 
the  foil  on  a  plate  of  glass,  the  arrow-shaped  opening 
can  be*  readily  cut,  and  its  edges  will  be  as  smooth  as 
the  most  skilful  mechanic  can  make  a  brass  plate.  This 
foil,  so  prepared,  should  be  mounted  between  two  slips 
of  glass,  and  the  edges  bound  with  paper.  Gum  traga- 
canth will  cause  paper  to  adhere  to  glass  very  firmly  and 
is  a  nice,  clean  paste  to  use.  The  slide  thus  prepared 
will  be  found  to  be  quite  as  good  as  the  most  costly  one 
procurable  in  the  stores.  In  my  own  experiments,  when 
I  require  slits  or  openings  of  any  required  shape,  in 
opaque  plates,  I  have  invariably  made  them  in  this 
manner,  with  a  feeling  of  satisfaction  at  their  cheapness. 
A  very  convenient  device  to  show  wave  motion  can 
be  made  with  this  tin  foil.  One  slide  is  made  with  plates 
of  glass,  3x4  inches,  having  tin  foil  inclosed,  in  which  slits 
are  cut  crossways,  say  ^5  inch  wide,  2  inches  long,  and 
the  slits  placed  i  of  an  inch  apart.  I  have  sometimes 
pasted  slips  of  tin  foil  i  of  an  inch  across  the  plate,  at 
equal  distances,  say  T^-  of  an  inch,  in  preference  to  cutting 
them  in  a  solid  piece  of  foil.  This  slide  will  show  ver- 
tical bars  of  light  on  the  screen.  If  now  another  slide  bo 
made  of  two  glasses,  3x6  inches,  with  foil  between  them, 
in  which  foil  a  wave-like  opening  be  cut,  say  i  of  an  inch 
wide,  this  slide  of  itself  would  show  in  the  lantern  a  wave 
line  of  white  on  a  dark  ground  on  the  screen.  The  two 
slides  put  together  in  the  lantern  will  show  a  wave  line 
of  dots,  and  if  the  wave-line  slide,  which  is  twice  as  long 
as  the  one  with  bars,  be  moved  back  and  forth  in  front 
of  the  bars,  the  dots  will  seem  to  rise  and  fall  in  wave 
motions,  and  the  fact  will  be  demonstrated,  that  in  wave 


SCIOPTICON     MANUAL.  133 

motions  there  is  an  advancement  of  the  wave,  while  the 
individual  particles  only  rise  and  fall  without  advancing. 

The  slips  of  glass,  mentioned  above,  can  be  con- 
veniently prepared  for  drawing  diagrams,  by  coating  one 
side  with  plain  collodion  (gun  cotton  dissolved  in  equal 
parts  of  alcohol  and  ether) ;  when  dry  this  surface  takes 
India-ink  admirably,  and  diagrams  can  be  traced,  or 
pictures  copied  in  a  rough  way,  by  laying  the  glass  plate 
so  prepared  over  the  picture  to  be  copied  and  tracing 
its  outline  with  a  pen  filled  with  good  India-ink. 

I  would  strongly  advise  any  one  using  your  lantern  to 
procure  some  of  the  comic  elides,  such  as  you  illustrate 
in  Class  XY  of  your  catalogue  of  slides,  and  they  can  see 
how  to  make  similar  ones  to  be  used  in  illustrations 
of  scientific  subjects.  Thus  with  the  wreck  of  one  of 
these  three  glass  slides,  picked  up  at  some  opticians  and 
purchased  for  a  few  cents,  I  improvised  a  slide  which 
answered  better  to  illustrate  the  process  of  carbon  print- 
ing in  photography  than  the  process  itself  would  have 
done  in  a  lecture-room.  One  figure  changed  with 
another  by  means  of  sliding  glass  plates  is  very  useful 
in  many  kinds  of  experiments  or  illustrations  of  facts 
and  processes. 

The  tank  figured  in  your  manual,  in  Chapter  YII,  on 
Chemical  Experiments,  contributed  by  Prof.  Morton, 
can  be  made  to  do  service  in  a  long  line  of  experiments 
with  electricity,  by  a  very  simple  device.  Thus,  to  illus- 
trate the  decomposition  of  water,  cut  a  slip  of  segar-box 
wood,  of  a  size  that  will  lay  on  the  bottom  of  the  tank 
loosely,  attach  to  this  bit  of  wood  copper  wires,  which 
Will  extend  up  to  the  end  of  the  tank  and  will  not  quite 
meet  at  the  centre  of  the  bit  of  wood;  to  upturned  ends 
at  this  place,  solder  little  slips  of  platinafoil,  f  inch  long 
by  i  inch  wide,  they  must  stand  vertically  face  to  face, 


134  SOIOPTICON    MANUAL. 

about  J  inch  apart.  Now  coat  the  copper  wires  and  the 
wood  with  melted  parafime,  but  take  care  that  none  gets 
on  the  platina;  this  will  insulate  the  copper  wires  and 
prevent  the  wood  from  absorbing  any  moisture.  This 
little  frame  placed  in  the  tank,  immersed  in  acidulated 
water  (water  with  a  few  drops  of  sulphuric  acid),  and 
the  terminal  wires  attached  to  say  two  cells  of  Groves' 
battery,  will  show  the  decomposition  of  water  admirably. 
A  similar  piece  of  apparatus  with  the  terminal  wires  at 
the  centre  of  the  board,  united  by  a  vertical  coil  of  very 
fine  platina  wire,  will  be  found  useful  in  illustrations  of 
circulation  by  heat.  Such  a  frame  immersed  in  clear 
water  will  be  seen  on  the  screen  as  a  black  coil,  seem- 
ingly hanging  down  from  a  black  bar  on  the  top  of  the 
screen;  if  now,  by  means  of  a  pipette,  some  colored 
fluid,  say  a  solution  of  permanganate  of  potash  in  water, 
be  carried  to  the  bottom  of  the  tank,  it  will  on  the  screen 
seem  to  spread  itself  out  as  a  red  stripe  under  the  black 
one  and  enveloping  the  little  coil;  a  current  of  elec- 
tricity passed  through  the  wire  will  heat  the  little  platina 
coil  and  thus  heat  the  water  in  contact  with  it,  so  that 
currents  will  be  established  in  the  fluid,  carrying  with 
them  the  colored  fluid  in  a  very  beautiful  curling  cloud 
of  color. 

I  mention  to  you  these  few  examples,  of  how  readily 
the  needful  appliances  for  illustrations  can  be  improvised  ; 
now  I  have  frequently  heard  persons  say  that  they 
"  feared  the  expense  entailed  in  the  use  of  a  lantern  •" 
that  "the  lantern  is  so  useless  without  a  great  many 
accessories,  which  are  so  expensive  in  themselves." 
Feeling  a  lively  interest  in  your  very  meritorious  in- 
vention, I  have  volunteered  these  hints,  which  I  beg  you 
will,  if  you  see  fit,  use  to  your  benefit. 

Yery  truly  yours, 

COLEMAN  SELLERS. 


6CIOPTICON     MANUAL.  135 


CHAPTER  X. 

Souk**  to  ww 

A  PROCESS  FOR   DRAWING    AND  PAINTING   MAGIC 
LANTERN   SLIDES. 

The  following  process  is  given  to  assist  persons  who 
own  a  Sciopticon,  to  prepare  for  themselves  a  portion,  at 
least,  of  the  necessary  transparencies,  especially  educa- 
tional illustrations.  It  has  been  our  aim  to  simplify  the 
whole  matter  as  much  as  possible  consistently  with  giv- 
ing such  directions  as  are  safe  and  practicable.  It  is  true 
that  there  are  some  other  colors  and  materials  which 
can  be  used,  but  the  list  given  below  contains  all  that 
are  necessary  for  the  production  of  hand-made  pictures, 
or  for  coloring  photographs  on  glass  in  this  style. 

LIST   OF   APPARATUS   AND   MATERIALS. 


Easel, 

Glass  slab, 

Palette-knife, 

Sable  pencils, 

Duster, 

Point  for  erasing, 

Hard  black-lead  pencil, 

Fine  pen, 

Varnish,  Nos.  1  and  2, 

Liq.  India  ink, 

Canada  balsam, 


Siccatif, 

Tube  of  blue-black  in  oil, 

Tube  of  crimson  lake  in  oil, 

Tube  of  Italian  pink  in  oil, 

Tube  of  Prussian  blue  in  oil, 

Tube  of  burnt  sienna  in  oil, 

Ol.  Turpentine, 

Glass, 

Mats, 

Binding-paper, 

Box  for  the  above  articles. 


For  amateur  work  we  very  decidedly  recommend  that 
the  pictures  should  be  made  on  the  1-4  size  of  glass 
known  to  photographic  stockdealers  as  "  B.  P.  C." 

After  the  painting  is  finished  and  dry,  it  is  only  nec- 
essary to  cover  with  a  mat  and  another  piece  of  the  same 
glass,  binding  the  edges  with  narrow  strips  of  paper, 
to  give  us  the  form  of  the  "Woodbury,"  or  of  the  new 
"  Crystal "  slide. 

If  the  glass  which  we    recommend   is   used,  simply 


136  SCIOPTICON     MANUAL. 

breathing  on  and  thoroughly  rubbing  it  with  tissue- 
paper  is  sufficient  for  the  cleaning.  Of  course  the  fin- 
gers must  not  touch  the  surface  of  the  glass  after  it  is 
cleaned. 

The  next  step  is  to  prepare  the  surface  of  the  glass 
for  the  drawing.  If  the  glass  (as  is  usual  with  this  kind) 
is  slightly  curved,  the  concave  side  should  invariably  be 
the  surface  to  receive  the  preparation.  This  preparation 
is  as  follows :  "  The  plate  to  be  dusted  and  gently  warm- 
ed; then  flow  the  surface  with  No.  1  varnish,  and  drain 
into  the  bottle  from  the  corner  of  the  glass.  When  this 
is  dry,  flow  with  No.  2  in  the  same  manner,  and  after- 
wards dry  with  gentle  heat.  Of  course  until  the  var- 
nish is  dry  the  corner  from  which  the  varnish  was 
drained  should  be  kept  down.  Should  dust  find  its  way 
into  the  varnish,  it  can  be  filtered."  Having  prepared 
the  surface,  it  should  not  be  soiled  by  handling  (always 
take  the  glass  by  the  edge  between  the  fingers).  A 
sketch  can  now  be  made  on  the  surface  with  a  good 
hard  black-lead  pencil,  either  as  an  original  drawing, 
with  the  glass  on  the  easel,  or  by  placing  the  glass  on 
an  engraving  or  other  picture,  and  tracing  the  outline. 

When  this  sketch  or  outline  is  finished,  strong  and 
black  lines  and  marks  can  be  made  with  the  "  liquid 
India-ink  "  in  a  fine  pen,  gently  used  so  as  not  to  make 
the  lines  too  coarse  and  heavy.  With  the  pen,  too,  lines 
can  be  ruled  or  letters  or  figures  added.  After  the 
drawing  is  finished  and  dry,  any  little  corrections  or 
scratches  can  be  made  with  the  pointed  eraser. 

The  easel  should  be  so  placed  that  the  light  falling  on 
the  white  tablet  will  be  reflected  to  the  eye  of  the  artist 
through  the  inclined  glass  on  which  the  picture  rests, 
and  consequently  the  picture  will  be  illuminated  by 
transmitted  light. 

The  easel  may  stand  on  a  table  placed  against  a  win- 


SCIOPTICON     MANUAL.  137 

dow  into  which  the  sun  does  not  directly  shine.  The  little 
screen  which  fits  the  easel  is  to  guard  the  eyes  of  the  artist 
from  extra  light  which  comes  from  above  the  easel. 

Although  the  pigments  in  our  list  are  so  few  in  num- 
ber, yet  with  these,  by  proper  admixture,  all  the  colors 
can  be  made. 

To  mix  these  colors  for  painting  we  will  suppose  we 
take  from  one  of  the  tubes  a  quantity  of  color  of  the  size 
of  a  small  pea,  to  which  we  add  about  half  as  much  Canada 
balsam,  and  one  or  two  drops  of  siccatif.  The  use  of  the 
balsam  is  to  make  the  colors  transparent;  the  siccatif 
is  simply  a  drier,  and  of  this  last  we  should  always  use 
as  little  as  is  consistent  with  the  colors  drying  in  a  rea- 
sonable time. 

If  a  picture  involving  a  variety  of  colors  is  to  be 
painted,  it  is  best  before  commencing  the  work  to  pre- 
pare not  only  the  simple  colors  in  the  tubes,  but  also 
some  of  the  most  important  mixtures,  as  follows: 

Greens. — Prussian  blue  and  Italian  pink.  (To  make 
a  dull  green,  use  some  burnt  sienna  with  the  above.) 

Orange  and  Flesh-tints. — Italian  pink  and  crimson 
lake.  For  some  shades  add  burnt  sienna. 

Browns. — Italian  pink,  Prussian  blue,  crimson  lake, 
and  burnt  sienna. 

Any  shade  of  brown  or  neutral  tint  can  be  made  by 
the  use  of  these  pigments  in  various  proportions,  which 
can  only  be  learned  by  experiment. 

Having  prepared  the  colors  on  the  glass  slab  (mixing 
well  with  the  palette-knife),  and  the  drawing  being  all 
ready,  after  dusting  we  proceed  to  apply  the  first  color- 
ing. 

If  the  subject  is  a  landscape,  the  first  thing  to  paint 
is  the  sky.  A  little  color,  slightly  thinned  with  ol.  tur- 
pentine, can  be  applied  with  two  or  three  strokes  of  a 
wide  brush.  It  does  not  answer  very  well  to  torture 


138  SCIOPTICON     MANUAL. 

the  color  with  the  brush  after  it  is  once  applied,  so  we 
must  be  able  to  do  what  we  wish  with  a  very  few  bold 
strokes.  We  don't  mind  about  trees,  spires,  &c.,  we  can 
take  the  sky  tint  off  from  them  where  we  wish  to  do 
so  afterwards  (before  the  color  is  dry)  with  a  sable 
brush,  slightly  moistened  with  ol.  turpentine,  but  the 
brush  must  not  contain  enough  to  spread  at  all  on  the 
surface,  otherwise  the  color  will  flow  away  from  the  line 
we  wish  to  establish,  and  form  a  ridge  on  the  sky. 

A  better  way  to  apply  sky  tints  is  to  stipple  or  daub 
the  surface  with  a  little  paint  on  the  end  of  the  finger. 
In  this  way  all  the  finest  skies  are  painted  by  the  best 
artists  who  make  pictures  for  the  magic  lantern,  but  the 
process  is  one  that  can  only  be  learned  by  many  trials 
and  much  practice. 

After  the  sky  is  painted  and  removed  from  places 
where  it  is  not  wanted,  distant  hills  next  receive  our 
attention,  successively  working  upon  objects  nearer  and 
nearer,  until  the  whole  picture  has  received  its  first 
painting.  Except  for  skies  the  colors  will  not  need 
thinning  with  ol.  turpentine. 

The  picture  should  now  be  put  out  of  the  way  of  dust 
and  sunshine,  and  where  it  will  dry.  The  next  day  such 
parts  as  need  can  be  repainted,  and,  if  necessary,  any 
successive  number  of  coats  can  be  applied,  allowing  a 
day  between  each  for  the  paint  to  dry.  When  com- 
pleted, it  only  remains  to  put  on  a  mat  and  cover  and 
fasten  the  edges  with  paper  strips.  Flour  paste  (too 
stiff  to  allow  moisture  to  be  drawn  up  between  the  plates) 
is  the  best. 

When  in  use,  that  is  when  changing  from  one  color 
to  another,  the  brushes  can  be  cleaned  with  ol.  turpen- 
tine. But  when  the  brushes  are  to  be  put  away,  they 
should  be  washed  with  warm  water  and  soap,  rinsed 
with  dean  water,  and  then  brought  to  a  point  to  dry. 


SCIOPTICON     MANUAL.  109 

The  preceding  article  on  drawing  and  painting  magic 
lantern  slides  has  been  contributed  by  an  expert  pre- 
eminently qualified  to  assist  us  in  overcoming  its  ap- 
parently insuperable  difficulties. 

It  may  be  proper  here  to  state  that  we  now  furnish  a 
varnish  to  take  the  place  of  No.  1  and  No.  2,  which 
answers  equally  well  with  but  once  flowing.  Like  No. 
2  it  must  be  dried  by  heat  to  prevent  what  is  called 
"  chilling."  The  operation  can  be  best  performed  in  a 
dry  atmosphere  which  is  free  from  dust. 

A  COPYING  CAMERA. — A  private  letter  from  Prof.  W. 
A.  Boles,  of  Shelby ville,  Ind.,  Superintendent  of  Schools, 
contains  further  valuable  information  in  this  direction, 
and  a  description  of  a  new  instrument  of  his  own  inven- 
tion. By  permission  the  following  extracts  are  given 
in  the  interest  of  home  production. 

"With  this  mail  I  send  you  a  specimen  of  my  drawing 
on  gelatine-coated  glass,  for  use  in  the  Sciopticon.  After 
the  coating  of  gelatine  is  perfectly  dry,  I  sand-paper  it 
with  the  finest  article  I  can  get,  and  after  the  picture 
is  drawn,  float  it  with  your  No.  1  varnish.  .  .  . 

"I  made  an  upright  camera-obscura,  using  the  lens 
from  the  Sciopticon.  The  picture  to  be  copied  is  placed 
beneath,  in  the  sunlight  if  possible,  and  the  image  is 
thrown  upward  so  that  I  can  trace  the  outlines  quite  at 
my  ease.  On  the  roughened  gelatine  a  fine  steel  pen 
and  the  ordinary  black  ink  I  am  now  using  mark  beauti- 
fully, and  the  shading  is  done  with  a  lead  pencil.  By 
tracing  the  image  of  the  picture,  in  the  little  darkened 
chamber,  I  avoid  the  trouble  from  the  slipping  of  the 
glass  and  the  different  angles  of  observation  consequent 
upon  superposition.  This  plan  has  also  the  additional 
advantage  of  enabling  me  to  reduce  or  enlarge  a  draw- 
ing to  any  desirable  size. 


140 


SCIOPTICON    MANUAL. 


"  The  accompanying  rude  drawing  will  give  you  Borne 
idea  of  the  plan. 

"The  front  A  and  the  rest  B  are 
connected  by  two  iron  braces  and  slide 
up  and  down,  for  the  desired  focal 
distance,  above  the  lens  C.  The  ad- 
justable shelf  D  supports  the  object  to 
be  copied.  The  glass  plate  is  laid 
upon  the  rest  B  over  the  opening, 
and  a  black  cloth  thrown  over  the  top. 
The  instrument  is  six  feet  in  height, 
and  eighteen  inches  square,  and  cost 
me  about  two  days'  labor.  It  is  highly 
satisfactory." 

It  will  be  understood  that  the  ob- 
ject of  roughing  the  gelatine,  as  in- 
dicated in  the  above  letter,  is  that  it 
m     31  may   present   an    opaque    surface    to 

render  the  image  visible,  like  the  focus- 
ing ground-glass  in  a  photographer's  camera;  this  rough- 
ing also  gives  it  a  "  tooth  "  to  hold  the  markings. 

Ground-glass  itself  is  sometimes  used  for  obtaining 
drawings  by  superposition,  which  is  rendered  transparent 
by  a  coat  of  varnish,  and  it  might  be  used  in  this  case ;  it 
is,  however,  somewhat  expensive.  A  surface  is  now 
produced  on  glass  quite  similar  by  what  is  called  the 
ground-glass  varnish.  This  surface  after  receiving  the 
drawing  may  also  be  rendered  transparent  by  a  coat  of 
common  varnish,  if  dried  in  sufficient  heat  to  prevent 
its  again  becoming  opaque. 

ASPHALTUM  VARNISH. — This  common  black  varnish, 
flowed  upon  quarter-plate  glass  and  allowed  to  dry, 
gives  a  surface  which  can  easily  be  drawn  upon  with  a 


SCIOPTICON     MANUAL.  141 

sharp  instrument  so  as  to  show  upon  the  screen  in 
smooth  white  lines  upon  a  dark  ground.  The  varnish 
must  be  thinned  with  turpentine,  to  allow  of  tracing  by 
superposition. 

This  process,  obtained  by  purchase,  is  given  for  the 
benefit  of  teachers,  who  will  find  it  admirably  suited  for 
maps,  diagrams,  and  any  so-called  blackboard  exercises. 

ORDINARY  TRANSFERS  UPON  GLASS. — Coat,  by  prefer- 
ence, quarter-plate  B.  P.  C.  glass  on  the  hollow  side 
with  transfer  varnish,  and  let  it  partially  dry.  Take  any 
cut  of  proper  size,  place  it  upon  water  right  side  up  un- 
til it  becomes  wet  to  saturation,  adjust  it  to  the  varnished 
surface  face  down,  rub  up  the  paper  in  rolls  until  it  is 
mostly  removed,  and  then  lay  it  aside  until  the  varnish 
becomes  hard.  Much  of  the  remaining  paper  can  now 
be  removed  without  damaging  the  picture,  by  carefully 
wetting  and  rubbing. 

Grecian  varnish  will  render  the  picture  transpar- 
ent; but  unfortunately  innumerable  pimples  make  their 
appearance,  which  show  badly  on  the  screen,  caused  by 
the  loosened  fibres  of  the  remaining  paper  film.  Several 
coats  of  varnish  will  finally  leave  a  smooth  surface,  but 
so  thick  a  coating  will  before  long  crack  and  eventually 
peel  off. 

This  process  is  here  referred  to  because  it  is  so  often 
inquired  about,  rather  than  because  it  is  thought  to  be 
of  much  value. 

DIAPHANIE. — A  picture  on  thin,  smooth  paper,  treated 
as  above,  but  without  rubbing  off  any  of  the  back 
surface  or  even  roughing  it  up,  will  make  a  tolerable 
lantern  slide,  with  one  coat  of  the  varnish.  It  will  ap- 
pear dark  on  the  screen  like  a  silver  print  that  is  very 
much  "fogged."  If  the  picture  is  pasted  to  a  frame 


142  SCIOPTICON     MANUAL. 

without  glass,  and  varnished,  it  appears  rather  better 
with  less  cost. 

DECALCOMANIA,  OR  ENAMEL  SLIDES. — Impressions  made 
on  starched  paper  and  fixed  to  glass,  as  above  described, 
will  adhere  to  the  varnish  when  the  paper  is  afterwards 
wet  and  pulled  off  entire.  After  soaking  off  the  starch, 
by  flowing  water  and  a  soft  brush,  the  picture  is  dried 
and  flowed  with  ordinary  slide  varnish.  These  so-called 
Enamel  Slides  are  inferior  to  silver  prints,  and  are  sold, 
both  plain  and  colored,  at  a  cheaper  rate. 

Should  the  paper  prints,  in  good  variety,  eventually 
be  sold  to  the  public,  full  directions  for  transferring  them 
would  doubtless  also  be  supplied.  On  this  supposition 
only,  would  this  truly  interesting  process  promise  to 
become  available  for  amateurs. 

TYPE  PRINTING  upon  glass,  except  in  a  poor  way  with 
elastic  type,  is  impracticable.  Hymns,  mottoes,  &c.,  may, 
however,  be  printed  to  advantage  upon  sheet  gelatine, 
in  the  small  amateur  printing-presses  now  so  much  in 
vogue.  Plain  collodion  films,  dried  upon  oiled  glass, 
upon  a  levelling  stand,  and  peeled  off,  will  take  impres- 
sions perfectly.  These  films  may  be  mounted  between 
glass  plates,  in  the  form  of  a  crystal  slide. 

WITH  QUARTER-PLATE  GLASS  prepared  as  described  to 
receive,  like  paper,  not  only  colors  but  pen  and  pencil 
drawings,  we  may  copy  engravings  for  the  lantern  by 
superposition,  or  in  a  camera  similar  to  the  one  illus- 
trated by  Fig.  31,  may  show  up,  as  by  magic,  all  that 
class  of  illustrations  now  in  vogue  as  "  blackboard  ex- 
ercises;" may  suit  original  designs  to  the  various  cir- 
cumstances of  time  and  place;  may  transcribe  hymns, 
mottoes,  &c.,  appropriate  to  each  occasion;  and  so,  with 
small  expense  and  ordinary  skill,  the  Sciopticon  becomes 


SCIOPTICON     MANUAL. 


143 


readily  available,  without  the  purchase  of  a  large  assort- 
ment of  slides. 


Fig.  32. 

The  cut  (Fig.  32)  shows  the  exact  size  and  shape  of 
the  transparency,  mat,  glass,  and  the  binding  of  the 
Woodbury  (photo-relief)  magic  lantern  elide,  of  the 
colored  crystal  slide,  and  of  such  as  are  made  according 
to  the  directions  given  in  this  chapter. 

Pen  and  pencil  drawings  would  require  only  Nos.  7, 
8,  9,  10,  19,  20,  and  21,  of  the  materials  enumerated  on 
page  138 ;  or,  simpler  still,  the  glass  may  be  obtained, 
ready  prepared,  for  75  cents  a  dozen,  the  drawings  made 
with  any  quite  black  ink  and  a  fine  pen,  and  shown 
without  glass  cover,  mat,  or  binding. 


144  SCIOPTICON     MANUAL. 


CHAPTEE  XL 

NOVEI/TIES. 

THE  CHIMNEY  CAP  of  the  Sciopticon  now  telescopes 
into  its  base,  so  as  to  give  added  length  and  greater 
draft  when  drawn  up.  It  should  not  be  elongated,  how- 
ever, when  the  instrument  is  first  lighted — especially  if 
the  wicks  are  not  well  saturated  with  oil — but  when 
well  under  way,  the  added  length,  with  a  correspond- 
ing turning  up  of  the  wicks,  gives  greater  brightness, 
and  more  effectually  draws  off  the  heat. 

THE  SCIOPTICON  CURTAIN. — Turning  the  milled  head 
at  either  side,  gives  the  appearance  upon  the  screen  of 
a  curtain  rising,  or  falling,  thus  handsomely  opening 
or  closing  an  exhibition.  It  may  also  be  temporarily 
closed  at  any  time,  to  allow  the  attention  to  be  directed 
to  other  exercises. 

The  process  of  changing  the  pictures  may  be  hidden 
from  view  by  shutting  off  the  light  with  the  left  hand; 
then  pushing  the  out-going  picture  into  the  left  hand 
by  sliding  another  into  its  place  with  the  right;  and 
then  flashing  on  the  light  with  the  right  hand ;  all  of 
which  may  be  sooner  done  than  said.  In  any  change  of 
programme  the  awkwardness  of  showingthe  "full  moon," 
or  the  disk  without  a  picture,  may  always  be  avoided  by 
using  the  opaque  curtain. 

This  curtain  also  serves  as  a  back  cap  for  the  object- 
ive, protecting  the  back  lens  from  dust  and  light  when 
not  in  use,  as  the  front  cap  protects  the  front  lens. 


SCIOPTICON     MANUAL.  145 

THE  SCIOPTICON  TINTERS. — The  tinting-glasses  are 
drawn  up  close  behind  the  objective  lens  by  means  of 
rods  terminating  in  knobs  above.  This  lets  tbe  color 
down  upon  the  screen — not  with  a  sharp  outline  like 
the  curtain,  but  with  a  gradual  shading.  With  the  blue 
tint  partially  drawn,  this  property  gives  to  plain  pho- 
tographs of  scenery,  a  blue  sky,  shading  off  without 
abruptness  down  to  the  horizon.  Slightly  drawing  up 
the  blue,  then  the  red,  and  then  turning  the  button 
attached  to  the  opaque  curtain  a  little,  fades  away 
gradually  the  upper  portion  of  the  disk,  as  is  desirable 
in  such  slides  as  the  Ascension.  The  reverse  movements 
bring  into  view  gradually  the  "  Soldier's  Dream, "  "An- 
gel of  Peace,"  &c.,  nearly  as  well  as  with  two  slides  in 
the  dissolving  lanterns.  All  the  appearances  formerly 
produced  by  colored  glass  slides  are  better  effected  by 
these  tinters.  If  at  any  time  the  rods  become  t<k>  loose, 
the  stop  screws  may  be  tightened. 

THE  NEW  SLIDE  STOP. — The  catch  drawn  out  from  the 
underside  of  the  stage,  and  turned  back  almost  out  of 
the  way,  is  intended  to  stop  the  slide  in  its  proper  posi- 
tion, but  not  to  interfere  with  its  being  moved  smoothly 
along  and  out  by  the  incoming  slide  when  slipped  for- 
ward from  the  catch  by  the  left  hand. 

The  catch  pushed  back  into  its  sheath,  leaves  the 
stage  entirely  unobstructed  for  those  who  prefer  to  ad- 
just the  slides  by  hand  only,  and  for  other  than  wooden 
slides. 

The  use  of  stops  is  the  more  necessary  with  a  pah  of 
instruments,  as  it  is  essential  to  a  proper  effect  that  the 
dissolving  views  should  occupy  exactly  the  same  place 
on  the  screen  without  any  readjustment  after  the  dis- 
solving becomes  visible. 


146  SCIOPTICON     MANUAL. 

LARGE  SLIDES — A  NEW  DEPARTURE. — To  improve  the 
size  and  brilliancy  of  a  Sciopticon  exhibition,  the  expe- 
dient, next  to  perfecting  the  instrument  itself,  is  to  bring 
into  use  larger  and  clearer  views. 

A  magic  lantern  picture  of  the  standard  size  is  3  in- 
ches in  diameter,  mounted  in  a  frame  7  inches  long  by 
4  inches  wide.  The  new  picture  is  3 £  inches  in  the  clear, 
in  a  frame  7  inches  by  4i  inches. 

The  new  picture  having  a  third  more  surface,  the 
illuminated  disk  shows  larger  in  proportion  and  to  very 
much  better  advantage.  No  one  seeing  an  exhibition 
of  the  new  slides,  would  willingly  select  from  the  old. 

No  inconvenience  arises  from  using  both  kinds  in  the 
same  exhibition.  The  larger  frame,  reaching  a  little 
higher  than  where  the  spring  meets  the  condenser, 
slides  more  smoothly  into  place. 

Great  pains  has  been  taken  to  get  the  best  subjects 
with  which  to  inaugurate  this  new  departure,  and  to  have 
them  worked  up  in  the  most  artistic  style. 

MARCY'S  EIDOTROPE. — Two  disks  of  perforated  tin  are 
mounted  so  that  one  extends  beyond  the  frame  to  the 
right,  and  the  other  to  the  left;  and  so,  not  having  a 
common  centre,  an  eccentric  revolution  is  given  to  each, 
little  by  little,  when  moved  by  the  fingers  at  either  side 
of  the  lantern,  producing  upon  the  screen  a  great  variety 
of  strikingly  beautiful  patterns,  which  may  be  pleasingly 
modified  by  a  varying  use  of  the  tinters.  Its  simplicity, 
however,  may  be  against  it,  for  effects  are  quite  apt  to  be 
valued  in  proportion  to  their  cost  and  trouble. 

WHEEL  OP  LIFE. — In  the  English  Wheel  of  Life,  in  its 
best  form,  the  opaque  disk  with  the  open  section,  as 
seen  in  Fig.  33,  is  revolved  rapidly,  while  the  transpar- 


SCIOPTICON     MANUAL. 


147 


Fig.  33. 


ent   disk,  covered  with   figures  in  varied  positions,  is 
revolved  with  less  rapidity  in  the  opposite  direction. 

Our  improvement  consists  in 
having  the  distance  of  the  crank 
wheel  adjustable,  and  in  having 
only  one  band  doubled  back  to 
run  both  wheels,  so  that  the  ten- 
sion of  the  band  can  be  regulated, 
while  both  effect  wheels  are  sub- 
ject to  a  band  of  like  tension. 

Four  adjustable  disks  of  figures, 
viz. :  the  Fishers,  the  Skaters,  the 
Giant's  Ladder,  and  the  Bottle  Imp,  are  now  included 
in  this  new  apparatus;  each,  when  used,  being  held  in 
place  by  a  wire  ring  sprung  into  a  surrounding  groove. 

THE  DANCING  SKELETON. — This  effect  is  produced  by 
having,  say  six  transparencies  of  a  skeleton,  in  as  many 
different  postures,  set  in  a  large  disk, 
as  shown  in  Fig.  34.  Giving  this  wheel 
i  of  a  revolution  at  a  time,  brings  the 
figures  one  by  one  into  position  to  be 
projected  upon  the  screen,  while  a  re- 
volving opaque  disk  hides  the  passing 
off  of  one,  and  the  coming  on  of  another, 
making  it  appear  as  if  the  same  figure 
were  keeping  time  to  the  accompanying  music,  by  strik- 
ing grotesque  attitudes. 

The  thousands  who  witnessed  this  striking  feature  of 
Prof.  Pepper's  late  American  lecture  tour,  seemed  fully 
to  enjoy  the  worth  of  their  money. 

It  is  but  fair,  however,  to  observe  that  the  machine  is 
complicated  and  cumbersome,  and  that  it  doubtless  fas- 
cinates more  for  its  novelty  than  for  its  intrinsic  value 


34. 


148  SCIOPTICON     MANUAL. 

Having  the  only  dancing  skeleton  in  America,  and 
that  well  enveloped  in  mystery,  is  quite  different  from 
having  the  apparatus  explained  in  print,  and  offered  for 
sale  at  $30. 

THE  DANCE  OF  THE  WITCHES.  —  Paper  witches  are  put 
into  the  cell  (Fig.  35)  and  the  picture 
of  a  cauldron  is  drawn  upon  its  outer 
face.  This  cell  is  filled  with  water, 
which,  with  the  floating  witches,  is 
made  to  circulate  about  the  pot  by 
means  of  pipettes  with  rubber  bulbs, 
reminding  us  of  the  scene  in  Mac- 


"  Eoundabout  the  cauldron  go  ; 
In  the  poisoned  entrails  throw,  — 
Double,  double,  toil  and  trouble, 
Fire  burn,  and  cauldron  bubble." 

THE  BEEHIVE.  —  Upon  the  fixed  glass,  a  beehive  and 
shrubbery  are  artistically  drawn  and  colored.  Two  disks 
of  glass  covered  thickly  with  figures  of  bees  on  the  wing 
are  revolved  in  opposite  directions,  presenting  upon  the 
screen  a  very  lively  appearance. 

THE  AQUARIUM.  —  Upon  the  fixed  glass,  an  aquarium 
with  dark  background  is  drawn,  while  fish  are  made  to 
appear  as  swimming  back  and  forth,  passing  and  repas- 
sing  each  other,  by  revolving  in  opposite  directions,  the 
disks  upon  which  they  are  painted. 

THE  FOUNTAIN.  —  The  appearance  of  a  fountain  in  full 
play  is  produced  by  revolving  over  the  face  of  the  pic- 
ture disks  of  glass  covered  with  crinkles. 

THE  ROCK  OF  AGES.  —  A  dark  and  stormy  sky,  and  the 
waves  dashing  against  a  stone  cross  (the  Rock  of  Ages), 


SCIOPTIOON      MANUAL.  149 

are  here  represented.  A  wreck  is  seen  in  the  distance. 
The  wreck  disappears,  and  the  figure  of  a  woman  appears 
clinging  to  the  cross. 

The  following  four  pairs  of  effect  slides  for  the  double 
lantern,  with  sliding  movements  (price  $6  a  pair),  are 
quite  popular  at  present,  but  they  are  difficult  to  operate 
satisfactorily. 

THE  NAIAD  QUEEN. — Yiew  of  a  lake  by  moonlight. 
The  moon  glistens  on  the  water ;  a  castle  is  seen  in  the 
distance.  The  Naiad  Queen  appears  sailing  across  the 
lake  in  a  pearl  shell  boat  and  playing  on  a  harp.  (Music 
can  be  used  very  effectively  with  this  view.)  Two  slides, 
with  movement. 

TRAIN  or  CARS. — A  railroad  bridge  in  a  dark  forest  is 
seen  by  moonlight.  A  train  of  cars  dashes  by,  the  head- 
light, and  sparks  flying  from  the  engine,  making  a  very 
brilliant  appearance.  Two  slides,  with  movement. 

OCEAN  STEAMER. — A  view  of  a  harbor  is  represented, 
with  a  city  in  the  distance,  from  which  an  ocean  steam- 
ship, bound  for  Europe,  sails  away.  Two  slides,  with 
movement. 

THE  SERENADE. — A  beautiful  view  by  moonlight  of  a 
lake,  on  the  borders  of  which  is  seen  a  castle  brilliantly 
illuminated.  The  serenader  appears  sailing  in  a  gondola 
and  playing  a  guitar.  A  lady  steps  out  upon  the  balcony 
of  the  castle  and  listens  to  the  serenade.  (Music  can  be 
used  in  connection  with  this  effect.)  Two  slides,  with 
movement. 

Each  of  the  following  effects  is  shown  either  with  one 
slide  in  a  single  lantern,  by  means  of  tinters  and  curtains, 
or  with  two  slides  in  a  pair  of  dissolving  lanterns. 


150  SCIOPTICON      MANUAL. 

WASHINGTON'S  DREAM. — "Washington,  tired  by  the 
duties  of  the  day,  in  his  room  seated  by  the  table,  has 
fallen  asleep.  The  camp  is  seen  through  the  open  door. 
The  vision  of  Columbia,  attended  by  Justice  and  Plenty, 
appears  in  the  sky. 

THE  SOLDIER'S  DREAM. — This  is  best  told  in  Campbell's 
Poem,  beginning : 

"  Our  bugles  sang  truce,  for  the  night  cloud  had  lowered, 

And  the  sentinel  stars  set  their  watch  in  the  sky ; 
And  thousands  had  sunk  on  the  ground  overpowered, 

The  weary  to  sleep  and  the  wounded  to  die. 
"When  reposing  that  night  on  my  pallet  of  straw, 

By  the  wolf-scaring  faggot  that  guarded  the  slain, 
At  the  dead  of  the  night  a  sweet  vision  I  saw, 

And  thrice  ere  the  morning  I  dreamt  it  again." 

MERCY'S  DREAM. — Mercy  is  represented  in  a  reclining 
position  beneath  a  spreading  tree.  An  angel  from 
Heaven  appears  and  places  a  crown  of  glory  on  her 
head. 

ANGEL  OF  PEACE. — A  beautiful  landscape  showing  a 
city  at  night,  with  the  new  moon  in  the  sky  reflected 
in  the  water.  The  figure  of  an  angel  bearing  a  child 
appears  like  a  vision  in  the  sky,  and  then  fades  away. 

THE  FAIRY  GROTTO. — A  view  looking  out  from  a  grotto 
into  a  lake,  upon  the  surface  of  which  are  interspersed 
rocks  and  trees  in  a  picturesque  manner.  A  fairy  with 
wand  is  seen  in  the  foreground.  The  moon  appears 
from  behind  the  clouds  and  its  reflection  is  seen  on  the 
rippling  waters. 

THE  WIZARD'S  GLEN. — The  wizard  and  his  attendant 
fairy  are  seen  in  the  foreground  of  a  picturesque  glen  in 
the  mountains.  The  moon  glistens  on  the  crest  of  a  cas- 
cade, which  falls  from  the  summit  of  the  rocks. 


SCIOPTICON     MANUAL.  151 

CHAPTEE  XII. 

Sit*  fim*  f iflftt 

INTRODUCTION. 

THE  Lime  Light  in  an  improved  form  having  been 
introduced  into  the  Sciopticon,  it  becomes -expedient  to 
append  to  the  Sciopticon  Manual  a  description  of  the 
apparatus  and  directions  for  its  use. 

FLAME  ILLUMINATION. 

We  have  in  the  Sciopticon  oil  lamp  arrangement  the 
largest  amount  of  ordinary  flame  illumination  that  can, 
to  advantage,  be  brought  to  bear  upon  the  screen  through 
the  objective  lens,  and  as  bright  as  air  with  its  twenty 
per  cent,  of  oxygen  will  make  it. 

Brightening  the  two  flames  by  an  inner  supply  of 
oxygen  gas,  after  the  manner  of  the  Bude  light,  heats 
the  wick  tubes  to  an  unsafe  degree,  and  consumes  too 
much  oxygen  as  compared  with  the  efficiency  of  the 
illumination. 

Some  solid  matter,  of  which  quick-lime  seems  to  be 
the  best  and  cheapest  for  the  purpose,  is  more  luminous 
in  an  intense  heat,  than  simply  the  particles  of  burn- 
ing carbon  floating  off  in  flame. 

VARIETIES  IN  LIME  LIGHT. 

Every  lime  light  alike  has  lime  and  a  jet  of  oxygen 
gas;  but  a  variety  arises  from  the  different  conditions 
of  the  hydrogen  employed.  With  alcohol  vapor,  it  is 
commonly  called  the  oxy-calcium ;  with  house  gas  led 


152  SCIOPTICON     MANUAL. 

directly  from  the  bracket,  it  is  sometimes  called  oxy- 
hydro-calcium.  To  produce  the  light  more  generally 
known  as  the  oxy-hydrogen,  both  gases  are  forced  upon 
the  lime  from  reservoirs  under  equal  pressure,  and 
through  a  common  jet. 

In  absence  of  well  established  and  distinctive  terms, 
we  seem  obliged  to  fall  back  upon  the  only  elementary 
distinctions,  as  alcohol,  house  gas,  and  mixed  jet;  or 
simply  Nos.  1,  2,  and  3. 

THE  ALCOKOL.  BURSTER. 

The  lime  light  produced  by  a  jet  of  oxygen  gas  through 
an  alcohol  flame,  as  now  used  with  improved  effect  in 
the  Sciopticon,  is  suited,  next  to  the  Sciopticon  oil  lamp, 
to  the  widest  range  of  circumstances. 


Fig.  30. 

The  alcohol  fountain  at  the  side  of  the  Sciopticon  is 
shown  in  the  above  cut  as  drawn  back,  so  as  to  be  partly 
seen.  It  is  connected  with  the  triple  blow-pipe  at  the 


SCIOPTICON     MANUAL. 


hydrogen  stop-cock  by  a  piece  of  rubber  tubing,  H. 
The  tubing,  in  connection  with  the  oxygen  stop-cock, 
extends  downward  towards  its  connection  with  the  oxy- 
gen bag,  or  cylinder,  which  is  not  here  shown. 

The  alcohol  passes  through  a  side  aperture,  A,  up  the 
nozzle  n  (Fig.  37),  to  its  level  in  the  cylindrical  wick- 
tube  a,  filling  it  about  two-thirds  full,  and  saturating 
the  wick  w,  which  loosely  fills  the  space 
between  the  concentric  tubes. 

If  on  lighting  the  wick  (which  is 
done  by  reaching  it  in  the  lantern  with 
a  lighted  match)  it  burns  feebly,  for  want 
of  being  fully  saturated,  we  may  give 
the  flexible  alcohol  tubing,  H  (Fig.  36), 
a  sliding  pressure  towards  the  jet,  being 
careful  not  to  overflow  the  wick  tube. 
The  alcohol  should  be  of  the  best 
quality,  and  high  enough  in  the  foun- 
tain to  feed  a  vigorous  flame. 

The     atmosphere,    while    supplying 
oxygen   to    the   outside  of  the   flame, 
compresses  the  inner  hydrogen  vapor  Q. 
into  combination  with  the  jet  of  oxygen 
as  it  strikes  upon  the  lime  above. 

When  the  exhibition  is  over,  we  may     *°'  *'  Fig'  37' 
let  the  fountain  hang  down  by  its  tubing  till  the  alcohol 
drains  back  into  it,  before  closing  the  stop-cock. 

• 

TIIK  HOUSE  GAS  BUKXER. 

In  towns  and  wherever  illuminating  gas  is  in  supply, 
it  may  be  led  by  flexible  tubing  from  the  bracket  to 
the  blow-pipe,  and  so  through  the  same  side  aperture,  /*, 
in  the  nozzle  into  the  conical  tube  g  (Fig.  38),  burning 
above  the  oxygen  jet  o  like  the  alcohol  flame  in  No.  1. 

11 


154 


S  CIO PT  ICON     MANUAL. 


While  the  amount  of  the  alcohol  flame  depends  on  the 
height  of  the  fountain,  this  flame  is  easily  regulated  by 
the  hydrogen  key  to  the  exact  amount 
required  by  the  oxygen. 

The  oxygen,  shooting  up  like  the 
middle  arrow  from  the  'flat-mouthed  jet, 
o  (see  its  shape,  front  view,  Fig.  39), 
combines  with  the  hydrogen  instanta- 
neously as  it  strikes  the  lime,  with  little 
tendency  to  cool  and  blacken  a  central 
spot. 

THE  I>R17MJIOM>  LIGHT. 

«  Lime  rendered  incandescent  by  the 
*  ignited  jet  of  an  oxy-hydrogcn  blow- 
pipe, invented  by  Dr.  Hare,  of  Phila- 
delphia, and  used  with  marked  success 
in  the  British  Signal  Service,  by  Lieut- 
Drummond,  has  been  called  the  Drum- 

No.  2,  Fig.  38.       ^Ond  Light. 

This  term  applies  distinctively  when 
a  collected  supply  of  hydrogen  gas,  as  well  as  of  oxygen, 
is  required,  and  when  both  are  alike  under  heavy  pres- 
sure and  forced  through  the  tubes  of  the  blow-pipe. 

Oxygen  and  hydrogen,  mixed  in  a  common  reservoir, 
cannot  be  safely  used  in  connection  with  an  ignited  jet. 

The  separate  gases,  however,  may  be  forced  upon 
the  lime  through  entirely  separate  jets,  in  accordance 
with  the  primitive  arrangement;  or,  which  amounts  to 
about  the  same  in  effect,  the  two  currents  may  terminate 
in  tubes  one  within  the  other,  called  the  concentricjet, 
mingling  as  before  only  when  projected  upon  the  lime; 
or,  which  is  counted  the  most  effective  and  is  now  in 
general  use,  the  oxygen  and  hydrogen  may  be  mixed  in 


SCIOPTICON     MANUAL 


155 


a  small  chamber,  as  at  c  (Fig.  39),  at  the  foot  of  a  single 
jet  through  which  the  mingled  gas  is  projected  upon 
the  lime. 

THE  MIXED  JET. 

The  mixed  jet  is  the  only  one  of  the  Drummond 
variety  superior  in  effect  to  Nos.  1  and  2,  and  this  we 
adopt  as  the  No.  3  of  the  triple  blow- 
pipe. 

The  mixed  jet  tube,  m  (Fig.  39),  takes 
the  place  of  both  the  tubes  of  No.  2, 
covering  both  apertures  at  the  junc- 
tion, j. 

The  oxygen  gas  forced  up  through 
the  central  aperture  o',  in  the  nozzle, 
instead  of  being  taken  direct  to  the 
lime  by  the  jet  tube,  as  in  Nos.  1  and  2, 
is  allowed  first  to  mingle  with  the  hydro- 
gen forced  in  with  equal  pressure  at 
the  side  aperture. 

The  relative  quantity  of  each  gas  is 
regulated  by  the  stop-cocks  till  the  best 
effect  is  produced,  which,  in  theory,  is 
when  there  are  two  volumes  of  pure 
hydrogen  to  one  of  oxygen,  or  about 
equal  volumes  if  coal  gas  is  used. 


2To.  3,  Fiff.  39. 


DANGERS  PECULIAR  TO  No.  8. 

Serious  accidents  in  operating  the  mixed  jet  are  mostly 
occasioned  by  carelessly  collecting  or  transferring  one 
kind  of  gas  into  a  bag  partly  filled  with  another  kind, 
and  then  attempting  to  use  it  in  connection  with  an 
ignited  jet.  It  is  common  to  distinguish  the  bags  by 
the  letters  H  and  0,  and  it  is  further  recommended  to 


166  SCIOPTICON    MANUAL. 

use  a  characteristic  stop-cock  on  each,  so  that  there  can 
be  no  mistaking  them,  even  in  the  dark. 

By  very  unequal  pressure,  gas  from  one  bag  may  be 
forced  through  the  cavity,  at  the  foot  of  a  clogged  jet, 
into  the  other  bag,  from  which  it  meets  no  counter 
current.  To  get  up  an  explosion  in  this  way  would  re- 
quire patience,  and  either  a  surprising  degree. of  care- 
lessness, or  else  considerable  skill  directed  to  this  end. 

It  should  become  habitual  to  turn  oif  the  oxygen  at 
least,  when  the  light  goes  out,  and  to  turn  it  on  only 
after  the  hydrogen  is  lighted. 

Stuffing  the  cavity  of  a  mixed  jet  with  wire  gauze  is 
now  discarded  as  not  only  useless  but  as  often  interfer- 
ing with  its  successful  working. 

Passing  the  gas  through  a  small  wash  bottle  is  de- 
signed to  prevent  the  back  flow  of  gas  or  flame.  The 
same  advantage  is  claimed  for  a  valve  in  the  tubing,  open 
towards  the  jet  but  closing  against  any  back  current. 

The  best  expedient,  however,  is  to  use  good  appa- 
ratus, and  to  exercise  common  care. 

ANXOTAXCES  PECULIAR  TO  THE  MIXED  JET. 

The  hydrogen  flame  is  somewhat  liable  to  be  blown 
out  by  too  abruptly  turning  on  the  oxygen.  In  this 
case  we  have  but  to  turn  off  the  gas  and  proceed  again 
with  more  care. 

The  mixed  gas  in  the  cavity  c  sometimes  explodes  and 
the  ignition  may  continue  within  the  cavity.  Whether 
the  flame  is  extinguished  by  the  explosion  or  not,  the 
oxygen  should  be  at  once  shut  off;  the  jet,  if  hot,  should 
be  cooled,  by  waiting  or  by  wetting  it,  and  the  adjust- 
ments should  be  revised  and  regulated.  This  accident 
may  result  from  irregular  pressure,  from  turning  on  the 
oxygen  before  lighting,  or  from  neglecting  to  turn  it  off 
before  re-adjusting  the  pressure  boards. 


SCIOPTICON    MANUAL. 


157 


None  of  the  accidents  or  annoyances  above  enumer- 
ated have  ever  happened  with  the  jet  herein  described. 
Its  characteristic  flat  mouth,  small  cavity,  and  ready 
adjustments  are  in  its  favor,  but  may  not  be  relied  on 
in  spite  of  bad  conditions.  It  will  be  observed  that 
this  possibility  of  evil  in  the  mixed  jet,  as  distinguished 
from  Nos.  1  and  2,  arises  from  the  necessity  of  having 
two  gases  in  bulk,  and  from  mixing  them  before  coming 
to  the  outlet. 


Ho.  1. 


No.  2. 


No.  8. 


THE  THREE  JETS  presented  above,  side  by  side,  show 
what  is  peculiar  to  each.  The  oxygen  tube  of  each  is 
screwed  down  upon  its  lead  washer,  so  as  to  present  its 
flat  mouth  to  the  lime,  as  shown  in  "No.  3. 

When  a  very  strong  current  meets  with  roughness  at 
the  mouth  of  a  jet,  or  strikes  some  impediment,  or  an 


158 


SCIOPTICON    MANUAL. 


unsound  place  in  the  lime,  it  sometimes  produces  a  his- 
sing sound.  Moving  the  lime  or  varying  the  pressure 
will,  in  most  cases,  abate  the  annoyance. 


MARCT'S  TRIPLE  JET. 


In  this  apparatus,  the  three  burners  already  described 
are  interchangeable. 


Fig.  40. 


Fig.  40  represents  the  house  gas-burner  in  position, 
while  Nos.  1  and  3  are  in  the  cells  d  and  e,  to  be  shut  in 
by  the  cover/.  The  broach  in  the  cell  v  is  in  proper 


SCIOPTICON   MANUAL. 


159 


shape  for  entering  and  clearing  the  flat  mouth  of  the  jet. 
The  wooden  base-plate"  .B,  the  bottom  of  which  is  shown  at 
Fig.  41,  holds  the  nozzle  n,  which  receives  into  its  middle 
aperture  the  current  of  oxygen  gas  from  0,  and  into  its 
side  aperture  either  alcohol  or  hydrogen  gas  from  H.  The 
lime  Z/,  in  its  holder  P,  is  let  down  the  open  chimney  of 
the  Sciopticon  and  held  in  place  by  the  socket  k,  the  elon- 
gated top  of  which  serves  as  a  guide  to  the  stem,  a  rest  for 
the  lime  cradle  u,  and  a  shield  from  the  alcohol  wick.  The 
base-plate  of  the  socket  is  pushed  under  the  screw-heads, 
into  contact  with  the  nozzle  n,  and  its  angle  and  its  height 
are  such  as  to  bring  the  lime  disk  into  proper  position. 


Fig.  41. 

The  lime  disk  is  I  of  an  inch  thick,  and  2  inches  in  diam- 
eter. It  lies  loosely  in  its  cradle  u,  so  that  lifting  the  back 
with  the  thumb  and  finger  half  an  inch  or  so,  brings  down 
to  the  jet  a  new  but  hot  place  in  the  lime.  This  operation 
is  not  hard  on  the  fingers,  because  the  move  is  so  easily  and 
quickly  made,  and  at  a  place  in  the  non-conducting  lime 
most  distant  from  the  jet.  The  handle  q,  turned  back  from 
the  heated  current,  gives  us  control  of  the  lime  holder,  so  it 
can  be  let  down  the  Sciopticon  chimney  into  its  socket  k, 
Fig.  42.  This  height  is  convenient,  but  not  essential  in  the 
Lime-light  Sciopticon,  Fig.  43.  For  other  lanterns  the 
handle  is  hinged  lower,  as 


160  SCIOPTICON  MANUAL. 

THE  OIL-LIGHT  SCIOPTICON,  WITH  THE  TRIPLE  JET. 

• 

The  jet  may  take  the  place  of  the  oil  lamp,  Fig.  42,  with- 
out changing  the  construction  of  the  Sciopticon  It  is  not 
so  convenient  for  the  jet  as  the  form  shown  in  Fig.  43,  but 
its  original  peculiar  advantages  are  not  sacrificed.  With 
the  Sciopticon  complete,  as  illustrated  and  described  at 
page  30,  we  remove  the  back  flame-chamber  glass  G't  the 
narrow  strip  F,  the  chimney  cap  J,  and  the  oil  lamp  8. 


Fig.  42. 

With  the  lime  light  the  front  glass  G  is  only  useful  to  pro- 
tect the  condenser ;  if  retained,  it  should  be  glass  without 
the  cut  as  commonly  used,  or  else  clear  mica.  With  a  con- 
centrated light  every  blemish  shows  upon  the  screen. 

Removing  the  lime  holder  from  its  socket  we  insert  the 
blow-pipe  by  dipping  the  jet  under  and  into  the  flame- 
chamber,  and  letting  the  lime  with  its  holder  down  the 
open  chimney  into  its  place  again,  as  shown  (Fig.  42;. 

The  lime,  spaces,  and  lenses,  and  the  adjustments  pecu- 
liar to  the  alcohol,  the  concentric,  and  the  mixed  jet,  will 


SCIOPTICON   MANUAL.  161 

receive  attention  in  the  following  pages,  in  connection  with 
the  Lime-light  Sciopticon. 

THE  LIME-LIGHT  SCIOPTICON. 

The  unrivaled  excellence  of  the  Oil-light  Sciopticon  con- 
sists in  its  serving  us,  not  with  a  lime-light  equivalent,  but 
with  flame  at  its  brightest,  arranged  at  its  best,  and  in  its 
being  always  available  with  but  trifling  expense  and 
trouble. 

Without  interfering  with  this  special  arrangement,  an  in- 
tense light  may  be  used  in  it,  as  explained  on  the  preceding 
page ;  but  the  distinctive  Lime-light  Sciopticon,  Fig.  43, 
drops  the  flame-chamber,  and  takes  on  parts  peculiar  to 
itself.  To  have  the  full  advantages  of  both  arrangements, 
therefore,  requires  two  instruments  ;  but  if  the  lenses  and 
draw-front  are  not  duplicated,  the  two  involve  but  little 
extra  cost.  (See  appended  catalogue.) 

Fig.  43,  page  1G8,  shows  the  exterior  of  the  Lime-light 
Sciopticon,  the  internal  arrangement  being  indicated  by 
dotted  lines.  Comparing  it  with  the  preceding,  or  with 
Fig.  15,  page  30,  it  is  seen  that  the  wooden  base,  the  lower 
and  front  part  of  the  cylindrical  body,  the  condensing  lenses 
with  their  peculiar  mounting  and  attachment,  the  draw- 
front  with  hood,  opaque  curtain,  tinters  and  objective,  are 
precisely  the  same,  and  so  cull  for  no  further  description 
here.  An  obvious  difference  is  the  absence  of  the  lamp, 
flame-chamber  and  chimney,  leaving  a  vacant  chamber  for 
the  triple  jet  and  the  automatic  winker.  The  peculiar  cut- 
off called  the  winker,  and  the  slide  frame,  which  is  an  appen- 
dage of  it,  will  receive  attention  further  on,  in  closer  con- 
nection with  Figs.  43  and  44. 

TRIPLE  JET  ADJUSTMENTS. 

The  Triple  Jet  described  page  158,  Fig.  40,  enters  its 
chamber  freely,  Fig.  43,  and  is  kept  in  place  with  sufficient 


162  SCIOPTICON   MANUAL. 

firmness  by  the  feet  tt,  fitting  closely  into  the  side  grooves 
when  nearing  its  proper  position,  and  resting  flush  with  the 
entrance  when  about  in  place,  leaving  about  half  an  inch  of 
the  wooden  base  projecting  behind. 

Oxygen  gas  in  a  bag  between  pressure  boards  weighted 
by  from  fifty  to  one  hundred  and  fifty  pounds,  or  else  com- 
pressed in  a  condensing  cylinder,  is  put  in  connection  with 
the  oxygen  jet  at  the  stop-cock  0,  known  by  its  lever- 
shaped  key.  The  oxygen  should  be  habitually  the  last  to 
be  let  on,  and  the  first  to  be  shut  off.  The  mouth  of  the  jet 
should  be  kept  clear  by  the  broach  v,  and  the  tubing  should 
be  kept  free  from  kinks.  The  oxygen  arrangement  is  the 
same  for  each  of  the  three  burners. 

For  the  alcohol-burner  the  wick  tube,  No.  1,  Fig.  37, 
loosely  filled  with  wicking  reaching  to  the  height  of  the  jet, 
is  put  in  connection,  by  a  piece  of  rubber  tubing,  with  the 
adjustable  fountain  at  the  side  of  the  lantern.  When  the 
fountain  is  full  the  wick  tube  is  about  two-thirds  full.  The 
alcohol  is  kept  to  this  level  by  screwing  the  base  with  one 
hand,  while  the  fountain  is  kept  from  turning  by  the  other ; 
taking  care  not  to  lift  it  so  as  to  overrun  the  wick  tube. 

The  lime-holder  may  be  supported  as  in  the  Oil-light 
Sciopticon,  Fig.  42,  but  a  special  holder  for  No.  1  burner  is 
now  preferred,  with  a  half  cylindrical  stem,  which,  instead 
of  setting  into  the  socket  k,  fits  over  the  wick-tube  and 
about  the  wick,  to  vaporize  the  alcohol  more  freely  by  its 
heat. 

For  the  gas-burner  the  conical  tube  g,  Fig.  40,  is  substi- 
tuted for  the  wick  tube,  and  connection  is  made  with  the 
house  gas  fixtures  by  sufficient  length  of  flexible  tubing. 
This  arrangement  is  to  be  preferred  where  house  gas  is  at 
hand ;  it  is  safe,  easily  controlled,  and  scarcely  inferior  to 
the  mixed  jet  in  efficiency. 

For  the  mixed  jet,  connection  is  made  with  hydrogen,  in 


8CIOPTICON    MANUAL.  1G3 

bag  or  cylinder,  subject  to  the  same  amount  of  pressure  as 
the  oxygen.  House  gas  collected  from  the  burner  is  mostly 
used,  when  obtainable,  to  save  the  trouble  and  expense  of 
generating  pure  hydrogen,  which  is  but  little  if  any  better. 

LIME-LIGHT  ADJUSTMENTS. 

The  lime  wheel  is  two  inches  in  diameter  and  five-eighths 
of  an  inch  thick,  so  that  the  available  surface  at  its  circum- 
ference is  six  inches  long  by  five-eighths  of  an  inch  wide. 
These  wheels,  lying  one  upon  another,  are  kept  dry  in  an 
air-tight  box  shaped  to  a  dozen  of  them.  Lime  is  less 
liable  to  crack  if  thoroughly  dried  before  using,  as  upon  a 
hot  stove  or  upon  live  coals,  or,  as  is  usual,  in  the  hydrogen 
flame. 

After  lighting  the  hydrogen  (vapor  or  gas)  in  moderate 
force,  and  allowing  it  time  to  heat  and  dry  the  lime,  the 
oxygen  is  turned  on  till  it  nearly  cuts  down  the  flame,  pro- 
ducing an  incandescent  spot  on  the  lime  wheel,  which  is 
struck  obliquely  on  the  rim  just  below  the  middle  of  the 
front,  about  a  third  of  an  inch  from  the  mouth  of  the  jet ;  it  may 
be  brought  somewhat  nearer  if  the  mixed  jet  is  used.  The 
direct  light  cannot  be  seen  from  behind,  but  its  comparative 
intensity  and  its  distance  from  the  jet  are  distinctly  seen, 
without  harm  to  the  eyes,  as  reflected  from  the  surface  of 
the  condenser.  The  upper  part  of  the  lime  wheel  and  the 
inclined  cap  and  door,  front  and  back  of  C",  Fig.  43,  inter- 
cept the  light  in  the  direction  of  the  open  top,  while  the 
upward  draft,  the  range  of  the  jet,  and  the  side  screen  plates 
(not  shown  in  the  cut)  all  favor  the  ready  escape  of  heat. 

To  adjust  the  light  precisely,  focus  a  picture  upon  the 
screen  and  remove  it,  push  forward  the  light  till  a  bluish 
ring  appears  upon  the  disk,  which  is  made  even  about  the 
centre  by  regulating  the  height  by  the  screw  S,  then  draw 
back  till  the  blue  disappears,  which,  if  the  lenses  are  pro- 


164  SCIOPTICON    MANUAL. 

perly  matched  and  in  line,  will  be  just  before  the  margin 
would  become  tinged  with  yellow. 

When  ready  to  project  the  views,  intensify  the  light,  if 
necessary,  by  letting  on  more  hydrogen  followed  by  more 
oxygen,  till  exactly  the  best  effect  is  produced.  During  the 
exhibition,  when  the  lime  begins  to  fail  at  the  point  exposed, 
lifting  up  the  back  of  the  wheel  about  half  an  inch  will 
bring  down  a  fresh  but  hot  surface  into  place,  which  may 
be  done  to  advantage  once  in  five  or  ten  minutes,  more  or 
less,  according  to  the  quality  of  the  lime  and  the  force  of 
the  jet.  The  wheel  lies  loosely  in  its  holder,  and  being  a 
non-conductor,  is  not  very  hot  at  the  back,  so  it  can  be  con- 
veniently turned  by  the  thumb  and  finger. 

RATIO  OF  SPACES. 

In  the  ordinary  Sciopticon  arrangement,  the  spaces  in 
inches  are  about  3  from  the  focus  of  illumination  to  the 
first  face  of  the  condenser,  2  through  the  condenser,  5  be- 
tween the  condenser  and  objective,  and  3  through  the  ob- 
jective tube.  The  focus  of  the  condenser  is  3,  or  the  back 
focus,  2 ;  that  of  the  objective  is  51,  or  from  the  back  glass, 
41-.  The  conjugate  foci  of  the  condenser,  measuring  from 
the  light  to  about  3  inches  front  of  the  objective,  are  4  and 
12.  The  conjugate  foci  of  the  objective,  measuring  from 
the  picture  slide  to  the  screen,  20  feet  away,  are  about  6 
and  240.  Multiplying  the  diameter  of  the  slide  picture  3 
by  the  ratio  ^,  gives  120,  or  10  feet;  so,  in  general,  the 
diameter  of  the  disk  on  the  screen  is  about  half  the  measure 
of  its  distance.  For  example:  if  the  screen  is  9  feet  wide, 
the  instrument  may  be  18  feet  away.  If  the  slide  pictures 
vary  in  size,  the  images,  of  course,  will  vary  in  proportion. 

With  the  long  focus  arrangement,  for  long  distances,  a 
condenser  is  used  of  2*  inches  back  focus,  and  an  objective 
of  10  inches  back  focus.  With  these  lenses  the  diameter 


8CIOPTI  CON    MANUAL.  133 

of  the  disk  on  the  screen  is  about  one-quarter  of  the  distance 
away ;  so  that,  to  get  a  20-foot  disk,  the  instrument  must 
be  80  feet  away,  a  15-foot  disk  60  feet  away,  etc.  The  back 
cell  of  the  objective  in  more  common  use  may  be  removed, 
which  gives  nearly  the  same  result  as  to  spaces,  but  the 
margin  of  the  image  will  lack  distinctness,  and  will  be 
tinged  with  yellow. 

There  is  some  call  for  an  objective  of  shorter  focus,  to  be 
used  behind  the  screen,  where  there  is  but  little  room.  A 
corrected  lens  can  be  supplied,  giving  an  image  about  the 
measure  of  the  distance,  but  with  less  perfect  definition. 
Non-achromatic  objectives  are  easily  made  with  short  focus, 
because  they  are  not  combined  with  the  flint-glass  dispers- 
ing lenses  to  correct  the  aberrations. 

Some  more  of  the  light  may  be  rendered  available  by 
placing  it,  say  two  inches  from  the  face  of  the  condenser ; 
but  much  of  the  gain  is  lost  by  its  falling  on  the  face  of  the 
lens  at  so  near  the  angle  of  total  reflection.  A  practical 
objection  to  placing  the  light  so  near,  is  the  danger  of  crack- 
ing the  glass  by  heat. 

Spacing,  and  other  details  herein  given,  are  for  the  Sciop- 
ticon  operator,  and  may  not  apply  in  all  respects  to  other 
apparatus.  As  to  oil-light  lanterns,  it  seems  enough  to 
have  described  the  Oil-light  Sciopticon.  Lime  light,  how: 
ever,  being  more  concentrated,  and  being  controlled  by 
more  artificial  conditions,  allows  a  greater  variety  of  ar- 
rangements, and  of  rival  forms  of  apparatus  to  compete  with 
each  other  for  public  favor.  So  the  Oil-light  Sciopticon 
monopolizes  a  lion's  share  of  our  space,  for  lack  of  a  worthy 
rival,  and  the  Lime-light  Sciopticon  is  exclusive,  because 
the  forms  of  like  apparatus  are  too  numerous  here  to  par- 
ticularize. 


1G6  8CIOPTICON    MANUAL. 

CHANGING  THE  SCENE. 

The  visual  image  of  a  pictorial  representation,  seen  under 
favorable  conditions,  scarcely  differs  from  that  produced  by 
the  object  itself.  It  is  said  that  an  artist  once  painted  a 
cherry  tree  so  true  to  nature  that  the  birds  swooped  down 
for  the  cherries.  "  See,"  said  he  to  his  rival,  "  even  the 
birds  unwittingly  testify  to  my  skill.  Now  draw  that  beau- 
tiful curtain  and  exhibit  thy  production."  "  That  beautiful 
curtain  is  my  picture,"  replied  the  rival.  "I  am  fairly 
entitled  to  the  premium,  for  even  a  competing  artist  un- 
wittingly testifies  to  my  skill." 

The  surpassing  excellence  of  projected  pictures  consists 
in  their  presenting,  on  a  large  scale,  the  appearance  of 
reality  in  a  marvelous  degree,  and  in  their  thus  presenting, 
with  the  least  possible  expense  and  trouble,  the  objects 
worth  seeing  in  all  the  known  world,  and  the  scenes  worth 
remembering  ever  since  the  world  began. 

In  practice  we  should  avoid,  as  far  as  possible,  all  un- 
natural appearances  and  movements  inconsistent  with  this 
pleasing  and  profitable  realization.  A  serious  drawback, 
in  an  ordinaiy  exhibition,  is  seeing  the  views  shoved  in  and 
out,  especially  if  the  movement  is  not  smooth  and  steady. 
Alas,  for  seeming  reality,  when  the  scenery  that  is  spread 
out  before  us  in  distant  and  stately  grandeur  suddenly  con- 
tracts into  dancing  shadows  on  a  white  sheet.  Even  dis- 
solving views,  by  which  the  change  is  effected  so  charm- 
ingly, present  many  incongruities  not  to  be  rationally 
anticipated  in  the  natural  order  of  things.  The  Lime-light 
Sciopticon,  however,  with  its  automatic  cut-off,  called  the 
winker,  shows  no  commotion  nor  commingling,  to  weaken 
the  stereoscopic  effect,  nor  any  blank  of  appreciable  dura- 
tion, for  suspense.  It  is  more  in  consonance  with  nature, 
and  is  less  hurtful  to  the  sight.  It  seems  like  closing  the  eyes 
on  one  scene  and  instantly  opening  them  on  another.  While 


SCIOPTICON    MANUAL.  167 

it  lacks  some  of  the  peculiar  mystification  of  dissolving,  so 
pleasing  to  the  uninitiated,  and,  indeed,  so  essential  to  cer- 
tain effect  slides — showing  the  change  of  seasons,  the  vicissi- 
tudes of  day  and  night,  etc. — yet  its  operation  is  natural  and 
agreeable,  and  regarded  with  growing  favor  ;  and  we  have 
its  advantages  in  a  single  instrument,  simple  and  conve- 
nient, compact  and  tidy,  efficient  and  comparatively  inex- 
pensive. 

DESCRIPTION  OF  THE  AUTOMATIC  WINKER. 

It  will  be  seen  that  the  flap  or  opaque  plate  a,  Fig.  43, 
when  raised  close  to  the  light  Kt  will  cut  off  all  the  rays 
from  the  lenses,  and  darken  the  screen  as  completely  as  a 
larger  flap  at  a  distance,  and  that  its  small  size  and  its  posi- 
tion enable  it  to  be  operated  by  a  very  slight  movement. 
This  flap  is  held  by  arms  b  b,  which,  at  c  c,  are  bent  so  as 
to  pass  out  through  holes  in  the  lantern  body,  and  prolonged 
downward,  forming  on  the  left  (not  shown)  a  long  lever  by 
which  the  flap  may  be  raised  by  hand,  limited  by  a  button 
and  moderated  by  friction,  and  forming  on  the  right  a  short 
lever  s,  automatically  worked  by  the  movement  of  the  slides 
themselves,  as  they  are  changed. 

The  short  lever-arm  s,  of  the  stop  a,  is  freely  attached  to  a 
light  framework,  consisting  of  a  thin  strip  of  brass  /,  fas- 
tened to  wires  r  and  g  g,  the  latter  bent  at  t  into  a  right 
angle.  This  frame,  attached  to  the  lever  s,  is  held  by  the 
staple  e  and  the  rest  o,  whose  spring  allows  its  ready  inser- 
tion or  removal.  It  slides  horizontally,  in  a  direction  paral- 
lel to  the  lantern  body,  and  so  operates  the  lever  s,  which 
lifts  the  flap  a.  The  brass  strip  /  is  bent  at  its  free  end  into 
a  V-shaped  latch  h,  the  point  of  which  is  outward,  and 
which  extends  in  breadth  almost  across  the  opening  for  the 
insertion  of  slides  into  the  slide-frame.  The  slide-frame 
consists  of  two  parallel  strips  H  Hly  Fig.  44,  connected 


168 


SCIOPT1CON    MANUAL 


together  by  uprights  R  R,  and  having  longitudinal  grooves, 
i  i1,  in  which  the  slides  will  fit.  A  holding  spring  e  crowds 
in  the  same  direction  as  the  latch,  so  the  slide  continues  to 
be  pressed  against  the  front  side  of  the  grooves.  When  the 
slide-frame  is  in  position,  held  in  place  by  pins  II,  inserted 
in  the  base  A,  Fig.  43,  the  glass  slide  is  slipped  along  the 


Fig.  43. 

grooves  i  i  from  right  to  left,  until  it  occupies  the  field  of 
the  lenses.  To  change  the  picture,  a  second  slide  is  in- 
serted in  the  grooves,  and  pushed  after  the  first  by  the  fore- 
finger, following  in  the  lower  groove.  As  soon  as  it  reaches 
the  V-shaped  latch  p,  it  pushes  the  latch  and  framework 
fr  g  gl  backward,  and  thus  depresses  the  lever  8.  This  mo- 
,tion  raises  the  stop  a,  and  cuts  off  the  light  until  the  second 
slide  has  pushed  away  the  first  and  occupied  the  field.  At 
this  moment  it  releases  the  latch  p,  when  the  stop  a  falls 
by  its  own  weight,  sliding  back  the  framework  to  its  first 
position,  and  permitting  the  light  to  pass  through  the  pic- 
ture. These  movements  can  be  made  instantaneously,  and 
the  picture  changed  during  what  appears  to  be  a  wink  of 


SCIOPTICON    MANUAL. 


1G9 


darkness,  but  it  is  quite  as  agreeable  when  done  without 
special  haste. 

When  American  slides,  4 }  inches  long,  are  used,  the  out- 
going slide  is  stopped  by  the  catch  n,  Fig.  44,  at  the  end 


Fig.  44. 

of  the  groove,  just  when  the  one  driving  it  is  exactly  in  the 
field  of  the  lenses.  It  is  then  lifted  out  to  make  room  for 
the  next  move.  French  slides,  4  inches  long,  are  stopped 
by  the  end  m  of  the  turn-buckle  pivoted  at  JV,  which  is 
turned  up  above  the  bottom  of  the  groove  for  that  purpose. 
For  English,  or  square  slides,  3  inches  long,  the  end  ml  is 
raised.  If  the  slides  are  irregular  or  mixed,  the  turn-buckle 
may  be  kept  level,  out  of  the  way,  gauging  the  slides  by 
the  finger  at  the  condenser.  By  these  appliances  the  appa- 
ratus can  be  worked  with  ease  and  precision  in  the  dark. 

The  automatic  cut-off  is  not  suited  to  wooden-mounted 
slides;  they  can  rest  on  two  screws  projecting  from  the 
front  side  of  the  slide-frame  by  starting  the  draw-front  just 
a  little  forward.  If  the  assortment  consists  mostly  of  wooden- 
mounted  slides,  however,  it  is  better  to  remove  the  latch- 
frame  (starting  at  the  spring  e),  and  insert  the  ordinary 
Sciopticon  stage.  The  front  opaque  curtain  may  be  used 
as  a  cut-off,  as  shown  page  35,  or  the  slides  may  follow  one 
another  in  panorama  style,  smooth  and  steady,  as  usual. 
15 


170 


SCIOPTICON    MANUAL. 


The  portion  of  the  Lime-light  Sciopticon  Fig.  45,  includ- 
ing the  triple  jet,  is  all  that  is  necessary  for  one  having  the 
Oil-light  Sciopticon  complete,  to  have  the  Lime-light 
Sciopticon  also  complete,  for  the  condenser,  objective,  and 
draw  front  are  perfectly  suited  to  either. 


Fig.  45. 

The  following  suggestions  in  relation  to  the  automatic 
cut  off  may  here  be  added  in  connection  with  the  above  cut. 

The  flap  a  is  held  in  place  by  tightly  biting  about  the 
wire  b,  upon  which,  however,  if  wrong  at  any  time,  it  can  be 
lorced  to  turn  so  as  to  completely  hide  the  moving  slides,  but 
not  to  shade  in  the  least  the  one  in  view.  The  tension  at  the 
thumb-screw,  now  placed  at  the  lower  bearing,  t,  should  just 
allow  the  flap  to  fall  without  jar.  There  is  now  a  roller 
attached  to  the  latch  at  A,  bearing  against  the  condenser  ring, 
to  lessen  the  friction  when  the  slides  enter,  and  to  moderate 
its  fall  when  let  go.  The  forefinger  should  follow  in  the 
groove  in  which  the  slide  runs,  and  it  is  well  to  let  the  out- 
going slide  strike  the  thumb  of  the  left  hand  placed  at  the 
stop,  then  to  lift  it  up  level,  and  so  out,  without  joggling  the 
one  on  the  screen,  and  then  to  place  the  next  view  to  the 
latch,  in  readiness  for  another  change  at  the  right  moment. 


SCIOPTICON    MANUAL.  171 

An  exhibition  of  a  mixed  lot  of  slides  may  be  made 
continuous  and  uniform  by  holding  the  wood-mounted  slides 
upon  the  ledge  in  front  of  H,  by  pressing  the  draw-front  back 
against  them,  which  does  not  interfere  with  alternating 
them  with  glass  slides  in  the  grooves  ii. 

THE  DISSOLY1NG  COCK. 

The  oil  lamps  in  a  pair  of  dissolving  lanterns  are  kept 
steadily  burning,  while  the  light  of  each  is  cut  off  from  the 
screen  alternately  by  the  crescent-shaped  dissolver,  as  shown 
Fig.  16,  p.  40. 

With  the  blow-pipe  the  lights  themselves  are  made  bright 
alternately.  The  expense  of  keeping  two  under  full  head 
when  only  one  shines  upon  the  screen  at  a  time,  becomes 
worth  considering;  besides  the  external  cut-off  does  not 
produce  so  soft  and  pleasing  an  effect  with  a  concentrated 
light. 

With  alcohol  burners  the  oxygen  is  switched  off,  so  to 
speak,  from  one  to  the  other  alternately ;  the  deserted  lime 
becoming  dim  at  the  same  rate  its  alternate  becomes 
incandescent.  The  dissolving  cock,  held  to  the  stand  by 
screw-heads,  has  a  nipple  to  connect  with  the  oxygen 
reservoir,  and  one  for  each  blow-pipe. 

With  the  mixed  jet,  the  flame,  when  deserted  by  oxygen, 
spurts  far  out,  making  it  necessary  to  cut  off  a  portion  of 
the  hydrogen  also. 

The  mixed  jet  stop-cock,  therefore,  has  three  additional 
nipples  (the  three  next  to  the  lever)  with  the  stopper  so  filed 
out  as  to  only  partially  cut  off  the  hydrogen  by  the  same 
turn  of  the  lever  which  completely  cuts  off  the  oxygen. 

The  play  of  the  lever  in  the  Marcy  dissolver  is  lessened 
by  side  screws  when  the  concentric  jet  (No.  2)  is  used,  or 
when  the  gas  cylinders  are  used,  because  a  fuller  flow  of 
hydrogen  is  less  liable  to  be  extinguished  by  an  over 
balancing  and  sudden  admission  of  oxygen.  There  is  con- 
siderable difficulty,  at  best,  in  dissolving  with  the  cylinders. 


172  SCIOPTICON     MANUAL. 

< 
PREPARATION  OF  OX  YUEN    GAS. 

MATERIALS. — Theoretically,  one  pound  of  chlorate  of 
potash  should  yield  37  gallons,  or  5  cubic  feet  of 
oxygen  gas;  or  enough  to  fill  the  ordinary  30  by  40 
inch  rubber  bag.  In  common  practice,  however,  it  takes 
20  ounces  to  get  5  feet,  or  a  quarter  of  a  pound  to  a 
cubic  foot. 

To  facilitate  the  decomposition  at  a  lower  tempera- 
ture, and  to  moderate  the  flow  of  gas,  we  mix  with  the 
20  ounces  of  chlorate  of  potash  about  5  ounces  of  black 
oxide  of  manganese. 

To  be  assured  that  this  black  powder  is  no  part  char- 
coal, black  lead,  sulphide  of  antimony,  or  any  thing  else 
that  will  make  with  the  chlorate  of  potash  an  explosive 
mixture,  we  may  mix  and  heat  a  sample  of  a  new  sup- 
ply on  a  scrap  of  sheet-iron,  or  in  an  iron  spoon,  over  a 
lamp.  If  it  simply  melts  and  dries  away,  leaving  a  dark 
gray  residuum  it  is  safe ;  if  it  flashes  up,  leaving  a  whitish 
residuum  it  is  unsafe. 

For  habitual  use,  it  is  convenient  to  keep  this  oxygen 
mixture  in  stock.  Put  into  a  box,  say  20  pounds  of 
pure  chlorate  of  potash,  broken,  so  as  to  pass  readily 
into  the  retort.  Add  to  these  white,  broken  crystals,  5 
pounds  of  black  oxide  of  manganese,  and  stir  the  two 
well  together  into  a  dark  gray  mass.  A  pint  cup  is  con- 
venient as  the  measure  of  a  "  charge/'  as  it  holds  besides 
the  manganese  about  a  pound  of  the  chlorate. 

THE  APPARATUS. — A  gas  stove,  a  (Fig.  46),  where 
we  may  have  it,  is,  perhaps,  the  most  convenient  heat- 
ing apparatus.  An  alcohol  lamp,  as  commonly  recom- 
mended, is  too  slow,  or  else  with  larger  wicks  it  is  in 
danger  of  explosion.  A  kitchen  stove  is  better,  either 
in  the  kettle's  place  with  a  brisk  fire,  or  else  upon  the 
live  coals. 


SCIOPTICON     MANUAL.  173 

A  conical  sheet-iron  retort,  b,  about  a  foot  high,  with 
joints  "up  set"  and  hammered  close,  is  cheaper  than 
the  copper  retort  in  common  use;  is  handier,  stands 
firmer,  lasts  longer,  and  can  be  new-bottomed  by  any  tin- 
smith when  burnt  out.  When  new,  the  seams  should 
be  luted  with  moistened  clay  or  plaster  of  Paris,  and 
whenever  used  the  cap  c  must  be  luted  on. 


Fig.  46. 

The  cap  has  the  same  bevel  as  the  retort,  tapering 
into  a  bent  tube,  the  end  of  which  is  covered  by  the 
flexible  tubing  d.  The  gas  when  liberated  by  heat  passes 
through  this  tubing,  first  down  the  long  pipe  into  the 
water,  near  the  bottom  of  the  wash  bottle  e,  then  bub- 
bling up,  washed  and  cooled,  it  passes  over  and  into  the 
gas  bag  0.  It  will  be  noticed  that  connections  are  made 
in  all  our  apparatus,  by  slipping  the  flexible  tubing  over 
the  ends  of  the  brass  pipes,  which  either  have  tapering 
nipples,  or  are  cut  with  a  slant  on  the  under  side. 

THE  OPERATION  OF  COLLECTING  OXYGEN  GAS. — Pour 
the  charge  into  the  retort,  seeing  that  no  chips  or  other 
materials  enter  with  it.  Let  the  wash  bottle  be  less 


174  SCIOPTICON     MANUAL. 

than  half  full  of  water.  Lute  on  the  cap  with  moistened 
plaster  of  Paris,  and  make  the  connections  as  shown  in 
the  diagram,  except  that  the  outlet  pipe,/,  of  the  wash- 
bottle  may  be  left  open  for  a  moment  or  so,  until  the 
flow  of  gas  expels  the  air ;  see  that  the  stop-cock  is  open 
and  that  the  tubing  is  unobstructed. 

Apply  sufficient  heat  to  almost  immediately  melt  that 
portion  of  the  charge  in  contact  with  the  bottom  of  the 
retort,  then  as  the  rest  melts  in  turn  the  operation  will 
be  gradual.  A  slow  fire  is  to  be  avoided ;  for  it,  after  a 
tedious  waiting,  raises  the  whole  charge  to  about  the 
melting  point,  when  the  decomposition  suddenly  pro- 
ceeds with  frightful  rapidity,  perhaps  choking  the  pas- 
sages and  parting  the  connections.  The  connections, 
however,  are  so  easily  parted  that  there  will  be  at  the 
worst  only  annoyance  and  loss  of  gas,  but  no  danger. 
It  is  a  common  recommendation  to  abate  the  heat  if  the 
flow  is  too  rapid,  but  with  a  good  heat  from  the  start, 
the  operation  is  expeditious  and  safe. 

"When  the  bubbling  ceases  and  we  conclude  from  the 
quantity  of  gas  that  the  charge  is  spent,  we  disconnect 
the  retort  and  remove  it  from  the  fire,  and  close  the  stop- 
cock at  the  bag. 

It  rusts  the  retort  less  to  break  up  the  residuum  with 
a  rod,  getting  it  out  dry;  but  it  is  easier  and  perhaps 
better  to  pour  in  water  and  rinse  it  out,  drying  the 
retort  directly  afterwards. 

PREPARATION  OF  HYDROGEN  GAS. 

Hydrogen,  one  of  the  constituents  of  water,  is  pro- 
duced by  decomposing  that  fluid  with  zinc  and  sulphuric 
acid.  A  few  hours  before  generating  the  gas,  a  mixture 
of,  say  four  pounds  of  strong  sulphuric  acid  (oil  of 
vitrol)  and  four  quarts  of  water  is  made.  Consider- 


SCIOPTICON      MANUAL. 


175 


able  heat  is  produced  in  making  tbe  mixture,  and  for 
this  reason  it  should  be  made  beforeband  in  an  earthen- 
ware, not  a  glass  vessel,  so  as  to  allow  sufficient  time  for 
it  to  become  cool  before  being  added  to  the  granulated 
zinc  contained  in  the  generator  a  (Fig.  47). 

b 


Fly.  47 


About  two  pounds  of  zinc  is  introduced  into  tbe 
generator  (a  glass  bottle  to  hold  five  gallons  or  more, 
or  a  vessel  made  of  lead),  the  top  of  which,  bearing  the 
tube  funnel  and  bent  exit  tube,  is  then  replaced,  and  the 
joint  being  made  airtighfT^Ih  the  case  of  a  leaden  gene- 
rator by  means  of  a  screw,  and  in  the  case  of  a  glass 
bottle,  by  a  metallic  stopper  coated  with  rubber),  the 
diluted  acid  is  poured  down  the  long  tube  funnel  6,  the 
end  of  wbich  descends  far  enough  into  the  liquid  to 
prevent  the  return  of  gas  in  tbat  direction.  A  brisk 
action  ensues,  the  gas  effervescing  like  so  much  soda- 
water.  The  first  portions  should,  however,  be  allowed 
to  escape  for  some  minutes  at  the  outlet  of  the  wash 
bottle  c,  to  expel  tbe  air.  To  ascertain  when  hydrogen 
begins  to  flow,  we  might  apply  a  light  to  soap-bubbles 


176  SCIOPTICON      MANUAL. 

blown  from  it  into  a  saucer,  or  to  the  aperture  itself  if  pro- 
tected by  a  fine  wire  gauze  thimble ;  but  such  troublesome 
precautions  rather  tend  to  incur  a  risk,  where  there 
would  be  none  without  them.  We  can  judge  near  enough 
from  appearances  when  to  complete  the  connection. 

Where  the  precaution  of  diluting  the  sulphuric  acid 
and  allowing  the  mixture  to  cool  has  been  neglected, 
and  sufficient  time  cannot  be  allowed  for  the  purpose, 
the  zinc  and  water  may  be  placed  in  the  generator,  and 
the  concentrated  acid  slowly  poured  down  the  tube 
funnel  as  it  is  required. 

It  is  equally  important  that,  before  collecting  the  gas, 
the  bag  in  which  it  is  to  be  received  should  be  pressed 
quite  flat,  or  rolled  with  the  stop-cock  open,  so  as  to 
exclude  all  trace  of  atmospheric  air.  The  time  when 
pure  hydrogen  is  coming  off  may  be  known  by  the  rapid 
rise  of  the  bubbles  to  the  top  of  the  water,  and  by  the 
accompanying  sound,  which  the  ear  will  recognize,  after 
a  little  practice,  as  being  unlike  that  of  other  gases. 
The  purifier  e  should  be  about  half  filled  with  water; 
and  connection  being  made  between  the  exit  tube  / 
aid  the  gas  bag  by  means  of  india-rubber  tubing,  as 
shown  in  the  cut,  bo  careful  to  turn  on  the  stop-cock  s,  in 
order  that  the  gas  may  have  free  entrance  into  the  bag. 

The  process  here  given  is  the  simplest  of  the  several 
in  common  use,  and  the  best  for  collecting  hydrogen 
gas  in  a  not  very  largo  quantity.  The  self-condensing 
gas  cylinder,  to  be  next  described,  promises  to  super- 
sede the  more  complicated  methods,  so  that  their  inser- 
tion here  would  be  useless. 

It  may  be  proper  here  to  suggest,  that  after  an  exhi- 
bition the  bags,  particularly  the  one  marked  "H,"  if 
not  to  be  soon  used  again,  should  be  completely  emptied, 
not  only  to  preserve  them,  but  to  insure  having  fresh 
gas  next  time. 


SCIOPTICON     MANUAL. 


PRESSURE  BOARDS. 

Instead  of  the  ordinary  iron  hinges,  which  only  allow 
the  pressure  boards  to  open  from  the  line  of  contact, 
two  long  leather  straps,  pierced  with  holes,  may  bo  per- 
manently attached  to  the  lower  board  and  hitched  to 
screw-heads  on  the  upper  board,  allowing  it  to  be  in  a 
plane  nearly  parallel  with  the  lower  board,  while  the  bag 
of  gas  is  between  them  and  the  weight  bears  on  the 
side  opposite.  These  straps  may  be  hitched  up,  from 
time  to  time,  as  the  gas  is  expended.  By  giving  sufficient 
length  to  these  strap-hinges,  the  two  bags  for  the  mixed 
jet  may  be  placed  one  upon  the  other  and  subjected  to 
the  same  pressure. 

The  three  boards  hinged  together  in  the  shape  of  the 
letter  Z,  to  receive  a  bag  in  each  angle,  as  commonly 
recommended,  are  not  only  heavy  and  expensive,  but  a 
measure  could  hardly  be  devised  more  likely  to  give 
unequal  pressure.  A  long  board  extending  from  one 
bag  to  the  other,  with  the  weight  upon  the  middle,  would 
be  better. 

The  necessity  of  exactly  equal  pressure  to  be  given  to 
the  two  gases  used  with  the  mixed  jet,  is  not  so  absolute 
as  might  be  inferred  from  the  way  it  is  usually  spoken 
of.  It  is  surely  well  to  see  that  the  bags  are  about  equally 
weighted.  When  two  gas  cylinders  are  used,  one  nearly 
spent  need  not  be  mated  with  one  fully  charged.  If, 
however,  the  pressure  in  each  is  in  excess  of  what  is 
needed,  the  stop-cocks  are  made  to  regulate  the  flow. 

As  it  is  inconvenient  to  transport  heavy  weights  from 
place  to  place,  traveling  exhibitors  may  fill  a  box  or  bag 
with  brick  or  stone  at  each  place  of  exhibition.  This 
expedient  affords  a  steadier  weight  than  to  seat  boys 
upon  the  pressure-boards,  and  more  continuous  than  can 
be  effected  by  clamping  screws. 

12 


178 


SCIOPTICON     MANUAL. 


EDGERTOX'S    SELF-CONDENSIXU   GAS   CTMICDERS. 

"  Special  attention  is  asked  to  these  cylinders,  affording 
as  they  do  a  more  easy  and  safe  means  of  producing  and 
condensing  the  gases  for  stereopticon  purposes  and  gen- 
eral illumination.  To  the  traveling  exhibitor  they  fur- 


Fig.  48. 

nish  a  compact  means  of  transporting  his  gases,  and 
save  the  labor  and  vexation  of  carrying  weights,  pres- 
sure-boards, etc.;  while  to  the  teacher  they  are  invalu- 
able, placing  at  his  command,  at  all  times,  a  powerful 
light  as  readily  started  and  as  easily  managed  as  that 
of  a  coal-oil  lamp. 

"  They  are  made  of  wrought  iron,  with  a  cast-iron  cap, 
and  are  capable  of  sustaining  a  pressure  twenty  times 
as  great  as  the  strain  they  are  subject  to.  Referring 


SCIOPTICON     MANUAL.  179 

to  the  cut,  A  is  tho  wrought-iron  cylinder,  B  the  cast- 
iron  cap,  C  the  valve,  D  the  nipple  for  hose,  and  E  the 
pressure-gauge.  The  hydrogen  cylinder  is  coated  with 
vulcanized  rubber  and  is  proof  against  the  action  of 
the  sulphuric  acid.  It  is  usually  a  size  larger  than  the 
oxygen  cylinder. 

"  To  operate  the  cylinder  for  oxygen,  unscrew  and  remove 
the  cap;  then  set  the  cylinder  over  the  fire  (a  range  or 
stove  preferred)  until  quite  warm  and  entirely  dry ;  then 
pour  in  the  chlorate  of  potash  (one  pound)  and  the  black 
oxide  of  manganese  (four  ounces).  See  that  none  of  the 
mixture  falls  upon  the  cylinder  head,  so  as  to  prevent 
the  cap  fitting  closely  down.  Now  rub  a  little  tallow 
on  the  cap  to  make  a  smooth  joint,  replace  it  so  that  the 
marks  on  the  cylinder  and  on  the  cap  will  coincide,  and 
screw  the  nuts  down  tight;  then  screw  on  the  gauge 
and  open  the  valve.  Allow  the  cylinder  to  remain  on 
the  fire  until  the  gas  has  come  off,  which  will  be  indi- 
cated by  the  rise  of  the  colored  fluid  in  the  gauge.  The 
gas  from  one  pound  of  chlorate  of  potash  will  raise  the 
fluid  to  within  three-fourths  of  an  inch  to  an  inch  of  the 
top  of  the  tube.  The  cylinder  ought  not  to  be  made 
red  hot  in  any  part.  When  the  gas  has  come  off,  set  the 
cylinder  away  to  cool ;  and  after  it  has  become  cold, 
shut  the  valve,  remove  the  gauge,  and  screw  on  the 
nipple.  It  is  now  ready  for  use  at  any  time,  but  can 
remain  in  the  cylinder  for  months,  if  not  required  sooner. 

"  When  the  gas  is  all  used  up,  shut  the  valve,  and  let  it 
stay  closed  until  you  wish  to  make  a  new  lot.  This  will 
keep  the  cylinder  dry  and  obviate  the  necessity  of  dry- 
ing over  the  fire  before  recharging.  Then,  when  you 
wish  to  make  fresh  gas,  unscrew  and  remove  the  cap, 
tapping  the  end  of  the  wrench  with  a  hammer  if  the 


180  SCIOPTICON     MANUAL. 

nuts  are  hard  to  start ;  take  a  piece  of  wood,  sharpened 
at  one  end,  insert  it  in  the  cylinder,  and  break  up  the 
residuum  by  a  few  vigorous  blows ;  pour  it  out  and  re- 
charge without  either  washing  or  drying. 

"  To  operate  the  cylinder  for  hydrogen,  unscrew  the  cap  as 
before,  put  in  two  pounds  of  scrap  zinc,  and  add  a  mix- 
ture of  sulphuric  acid  and  water  (four  pounds  of  acid 
and  four  quarts  of  water).  This  mixture  should  be  cold 
when  poured  into  the  cylinder.  As  soon  as  the  liquid  is 
poured  in,  screw  down  the  cap  as  before,  slip  a  gum  tube 
on  the  nipple,  and  begin  to  use  as  soon  as  there  is  suffi- 
cient pressure,  if  it  is  desirable.  There  is  no  practical 
use  for  the  meter  in  this  case;  if  used,  the  red  liquid 
will  stand  within  about  a  quarter  of  an  inch  of  the  top 
of  the  tube  when  the  operation  is  completed. 

"  As  there  is  an  excess  of  zinc  introduced  all  the  acid 
will  be  neutralized.  There  will  be  no  deterioration  of 
the  gas  or  injury  to  the  cylinder  from  long  standing. 
When  the  hydrogen  is  burned  up,  pour  in  water  to  dis- 
solve the  sulphate  of  zinc.  This  is  easily  done,  and  the 
cylinder  is  then  rinsed  out,  and  is  ready  for  another 
charge." 

We  believe  with  the  inventor,  as  above  expressed, 
that  the  self-condensing  gas  cylinders  will  prove  a  very 
great  convenience  in  the  production  of  the  liine  light. 

It  is  obvious  that  the  directions  as  to  fitting  the  cap 
upon  the  cylinder-head  must  be  strictly  observed.  Any 
particles  between  the  meeting  surfaces  prevents  perfect 
contact  and  so  will  allow  the  gas  to  escape. 

The  oxygen  cylinder,  owing  to  its  thickness,  requires 
a  longer  heating  to  disengage  the  gas  than  the  retort 
before  described.  There  is,  in  this  case,  no  outward 
current  of  gas,  dust,  or  foam,  to  make  former  directions 
applicable  only  so  far  as  repeated  above. 


SOIOPTICON    MANUAL. 


181 


M ARCT'S  SCIOPTICON  AX»  TRIPLE  JET. 


The  condensing  gas  cylinder 
occupies  but  a  small  portion  of 
the  space  required  by  a  gas  bag 
with  its  pressure  boards  and 
weights.  Considering,  moreover, 
that  the  apparatus  here  illustrated 
gives  the  best  results  with  compar- 
atively little  trouble,  the  signifi- 
cant heading  of  "  Much  in  Little," 
is  well-deserved. 

"With  oxygen  in  the  cylinder, 
or  in  a  bag,  we  may  have  the 
.  49.  lime  light  either  with  alcohol  or 

with  gas  from  house  gas  fixtures.    For  the  mixed  jet,  the 
hydrogen  must  be  forced  from  a  second  cylinder  or  bag. 


182  SCIOPTICON    MANUAL, 

AN   ECONOMICAL  FORM    OF    GAS    MOLBEK    FOR    Till 
LIME   LIGHT. 

BY  J.  B.  KNIGHT,  SECBKTABY  FBAWKLIN  INSTITUTE. 

"  In  the  summer  of  1875  the  Franklin  Institute  determined 
to  put  in  a  pair  of  holders  of  considerable  capacity,  for 
oxygen  and  hydrogen,  so  as  to  avoid  the  necessity  of 
preparing  the  gases  on  each  occasion  that  they  were  to  be 
used,  and  other  inconveniences  in  the  use  of  bags  and 
press-boards  in  connection  with  the  lime-light.  As  it  was 
desirable  to  use  as  great  economy  as  was  consistent  with 
effectiveness  and  durability,  the  design  shown  in  the  accom- 
panying illustration  was  adopted,  as  covering  these  points. 

"Fig.  50  is  a  sectional  and  Fig.  51  a  perspective  view,  a 
represents  a  wooden  tank  or  tub,  4£  feet  in  diameter,  and  5 
feet  high,  made  of  cedar  wood,  and  hooped  with  iron  in  the 
usual  manner ;  b  represents  the  holder,  made  of  No.  10 
galvanized  iron,  and  is  4  feet  diameter  by  5  feet  high.  The 
roof  or  top,  c,  is  conical  in  shape,  rising  on  each  side  at  an 
angle  of  about  30°,  and  is  attached  to  the  sides  of  the  holder 
18  inches  below  the  top  edge,  thus  forming  a  receptacle  for 
water,  to  act  as  a  weight  to  produce  the  required  pressure 
when  the  gas  is  being  used. 

"  In  the  centre  of  the  holder,  and  extending  its  extreme 
height,  is  placed  the  tube  d,  passing  through  and  fastened 
by  a  water-  and  gas-tight  joint  to  the  roof  c,  and  being  held 
firmly  in  the  centre,  at  its  lower  end,  by  the  four  braces  n. 
The  holder  is  given  additional  stiffness  by  the  diagonal 
braces  m,  which,  however,  may  be  dispensed  with  in  holders 
of  this  size  or  smaller.  From  the  centre  of  the  bottom  of 
the  wooden  tank  rises  a  bar  or  post  of  1-inch  round  iron, 
passing  through  the  tube  d,  and  reaching  to  the  ceiling  of 
the  room,  thus  forming  a  simple  and  almost  frictionlesa 
guide  for  the  holder  in  its  vertical  movements. 


SCIOPTICON    MANUAL. 


183 


Fig.  50. 


184  SCIOPTICON    MANUAL. 

"  On  either  side  of  the  tube  d,  and  as  near  as  convenient, 
are  placed  two  eye-bolts,  from  which  are  carried  wire  cords 
//,  up  to  and  over  the  pulleys  g  g.  After  passing  these 
pulleys  or  shrives  a  few  inches  (the  holder  being  at  its 
lowest  point),  the  ends  of  the  cords  are  inserted  and  fastened 
in  holes  in  the  crossbar  h,  as  shown  in  Fig.  2,  p.  183. 
Midway  between  these  cords  is  inserted,  from  the  opposite 
side  of  the  crossbar,  a  single  cord,  as  is  also  shown  in  Fig.  2, 
p.  183,  as  well  as  in  Fig.  51,  which  represents  this  portion 
broken  off  and  swinging  around  at  a  right  angle  to  its  proper 
position.  This  cord  i  passes  over  the  shrive  k,  and  extends 
down  to  within  a  convenient  distance  of  the  floor,  and  has 
attached  to  its  extremity  the  pan  /,  for  holding  the  weight 
shown  in  Fig.  3,  p.  183.  Care  must  be  taken  that  the  dis- 
tance of  the  shrive  Tc  from  the  crossbar  h,  and  also  from  the 
bottom  of  the  scale  pan  to  the  floor,  is  as  great  as  the  proposed 
rise  and  fall  of  the  holder.  The  arrangement  of  cords,  shrives, 
etc.,  will  be  readily  seen  in  the  perspective  view,  Fig.  51. 

"  The  pipe  for  the  admission  and  exit  of  the  gas  is  shown 
as  passing  through  the  side  of  the  wooden  tank,  and  rising 
near  the  centre,  to  within  a  few  inches  of  the  top  of  the  holder. 

"  The  manner  of  using  is  as  follows :  The  cock  o,  in  the 
inlet  pipe,  being  open  to  the  atmosphere,  water  is  admitted 
to  the  tank  until  it  rises  a  little  above  the  lower  edge  of  the 
top  of  the  holder,  when  the  cock  should  be  closed.  Weights 
(Fig.  3,  p.  183)  are  placed  on  scale  pan  I,  in  sufficient 
amount  to  overbalance  the  weight  of  the  holder,  and  to 
overcome  the  friction  of  the  cords  and  pulleys.  Communi- 
cation being  opened  between  the  inlet  pipe  and  the  source 
of  gas  supply,  the  gas  enters,  and  the  holder  rises  until  filled. 
The  supply  of  gas  should  then  be  cut  off,  the  weights  re- 
moved from  the  pan  I,  the  space  at  the  top  of  the  holder 
filled  with  water,  and  the  gas  is  ready  for  use,  under  the 
necessary  pressure.  When  the  holder  is  exhausted,  the 


S  C  I  O  P  T  I  C  O  N    MANUAL.  185 


Fig.  &1. 


186  SCIOPTICON    MANUAL. 

water  on  top  is  run  off  by  means  of  an  india-rubber  tube, 
acting  as  a  siphon,  the  weights  replaced  on  the  pan,  and 
the  holder  is  ready  for  refilling. 

"  Where  the  oxy-hydrogen  light  is  much  used,  holders  are 
almost  indispensable,  and  in  all  cases  effect  a  large  saving  of 
time  and  material  in  the  preparation  and  use  of  the  gases." 

The  above  illustrated  article  has  been  prepared  for  the 
purpose  of  affording  a  practical  guide  in  constructing  similar 
gas-holders,  wherever  the  plan  is  approved.  If  the  tubs 
are  made  at  any  distance  away,  they  can  be  brought  in  parts 
to  the  place  they  are  to  occupy  and  there  set  up.  The  joints 
of  the  galvanized  iron  holders  are  made  gas-tight  with  solder. 

Wherever  illuminating  gas  is  in  use,  the  hydrogen  gas 
holder  can  be  filled  with  it,  as  is  done  at  the  Franklin 
Institute.  If  either  the  alcohol  burner,  or  the  concentric 
jet  with  house  gas  direct  from  the  main  is  used,  only  an 
oxygen  gas  holder  is  required. 

So  far  as  we  now  know,  it  seems  best  to  generate  the  gases 
by  repeated  use  of  the  apparatus  described  on  pages  165 
and  167.  With  two  retorts,  one  accustomed  to  the  operation 
can  roast  a  double  oxygen  charge  in  each  alternately  till 
eight  pounds  are  used,  which  about  fills  a  gas  holder  of  the 
dimensions  described. 

The  use  of  gas  holders  renders  projecting  apparatus  much 
more  available  in  educational  institutions,  because  the  gases 
can  be  made  in  large  quantities  at  once,  stored  for  an  in- 
definite time  without  deterioration,  and  used  whenever 
occasion  requires,  without  delay,  with  only  such  darkening 
as  can  be  readily  effected,  either  at  evening  or  in  the  daytime. 

OTHER  GAS   CONTRIVANCES. 

A  desire  to  render  the  lime-light  apparatus  more  conven- 
ient, inexpensive,  safe  and  portable,  gives  rise  to  various 


SOIOPTirON     MANUAL.  187 

contrivances  to  lessen  its  drawbacks.  Gas  holders,  as 
described  in  the  last  article,  cannot,  of  course,  be  carried 
from  place  to  place.  In  bags,  there  is  considerable  bulk, 
and  a  necessity  for  weights  and  pressure  boards.  Cylinders 
are  heavy,  and  the  pressure  which,  has  a  thousand  times  the 
force  needed  has  to  be  risked,  retained  and  regulated. 
These  disadvantages  might  be  obviated,  it  is  thought  by 
some,  by  the  simultaneous  production  and  consumption  of 
the  gases. 

A  copper  hydrogen  generator,  about  thirty  inches  high, 
similar  in  shape  to  Fig.  51,  but  with  the  zinc  suspended  so 
as  to  sink  into  the  acidulated  water,  to  keep  up  the  supply 
of  the  disengaged  hydrogen  as  it  becomes  expended,  has 
been  in  market  for  many  years ;  but  its  being  abandoned 
by  those  who  have  used  it  is  not  very  assuring. 

A  good  light  is  produced  by  vapor  from  heated  gasoline, 
or  other  hydrocarbons,  pressing  into  the  mixed  blowpipe, 
but  it  can  hardly  be  as  safe  as  a  jet  of  oxygen  through  an 
ordinary  alcohol  flame. 

At  this  very  time  there  is  much  said  in  favor  of  generating 
oxygen  at  just  the  rate  required  by  the  jet,  by  gradually 
feeding  the  oxygen  material  to  the  melting  apparatus.  We 
are  now  waiting  to  see  this  process  develop  into  complete 
success,  but  the  question  arises  as  to  whether  the  additional 
care  of  generating  the  gases  while  running  the  light  will 
not  prove  too  much  for  ordinary  faculties,  and  result  in 
the  proverbial  experience  occasioned  by  having  too  many 
irons  in  the  fire  at  once. 

The  gases,  with  the  use  of  cylinders,  into  which  they  are 
compressed  by  pumping,  are  furnished  by  dealers  at  about 
20  cents  a  foot  for  oxygen,  and  3  cents  a  foot  for  city  gas. 
Many  exhibitors  in  the  vicinity  of  large  towns  are  thus 
supplied. 


188  SCIOPTICON     MANUAL. 

ATTACHMENTS  FOR  USE  WITH  THE  LIME  LIGHT. 

THE  LANTERN  MICROSCOPE. — This  instrument  is  in- 
tended to  show  natural  objects,  suitably  prepared  and 
mounted  with  Canada  balsam,  between  two  discs  of  glass. 
They  consist  of  details  in  the  anatomy  of  a  bee,  wasp, 
flea,  spider,  larvae  of  insects  found  in  stagnant  water,  as 


gnats,  dragon-flies,  parasitic  and  other  insects;  parts 
of  insects,  sections  of  woods,  teeth,  bones,  fossil  bones, 
shells,  lace,  silk,  muslin,  etc. ;  and  as  such  objects  are 
smaller  than  paintings  for  the  lantern,  and  contain  more 
delicate  details,,  a  proportionately  higher  magnifying 
power  is  required,  which  may  be  adapted  to  the  front 
of  the  Sciopticon. 

The  ordinary  lantern  microscope  objective,  sold  at 
about  $10.00,  has  a  high  and  low-power  combination. 
There  is,  however,  all  the  need  of  achromatic  objectives 
for  projections  that  there  is  for  the  common  microscope ; 
in  which  case  the  cost  cannot  be  less.  The  apparatus 
shown  at  Fig.  52,  with  an  inch  objective,  costs  about 
$60.00.  The  objectives  of  a  table  microscope  might 
doubtless  be  adapted  to  lantern  use.  Of  course  there  can 
be  no  satisfactory  results  without  proper  adaptations, 
and  perfect  alignment  and  adjustment  of  distances. 


SCIOPTICON     MANUAL.  189 

EXPERIMENTS  WITH  THE  LANTERN  MICROSCOPE. — By 
filling  a  glass  trough  with  diluted  sulphuric  acid,  and 
dropping  into  it  a  few  pieces  of  granulated  zinc,  the 
decomposition  of  water  may  be  shown  to  an  entire  au- 
dience. Aided  by  a  six-cell  Smee's,  or  Grove's,  battery, 
and  a  small  thin  tank,  the  power  which  palladium  pos- 
sesses of  absorbing  nine  hundred  times  its  volume  of 
hydrogen  may  also  be  shown;  the  snake-like  contortions 
of  the  strip  of  metal,  and  the  bubbles  of  gas  escaping 
on  the  reversing  of  the  current,  proving  very  interesting. 

The  crystallization  of  salts  may  also  be  shown  by 
placing  a  drop  of  a  strong  solution  of  Epsom  salts,  or 
sulphate  of  copper  (blue  vitriol),  on  a  piece  of  glass  of 
suitable  size. 

Another  effective  result  is  obtained  by  placing  in  the 
glass  tank  a  small  horse-shoe  magnet,  and  dropping 
around  it  some  iron  filings,  which  will  bo  found  to  ar- 
range themselves,  or  rather  be  attracted  by  the  magnet, 
in  a  most  extraordinary  manner. 

Exhibitions  of  microscopic  objects  by  the  aid  of  the 
magic  lantern  in  the  drawing-room  sometimes  fail  to 
give  that  complete  satisfaction  which  is  desirable,  owing 
to-  attempts  being  made  to  show  them  on  too  large  a 
scale  in  proportion  to  the  light  employed.  We  have 
given  very  satisfactory  exhibitions  on  a  sheet  of  Im- 
perial (22x30)  white  card-board,  fastened  by  drawing- 
pins  to  a  board,  and  fixed  against  some  books  or  on  a 
chair.  In  this  way  the  proboscis  of  a  blow-fly  may  be 
enlarged  to  two  feet  in  length,  and  this  is  found  to  be 
quite  large  enough  for  most  private  assemblies. 

It  is  desirable  to  have  two  or  three  sets  of  lenses,  of 
different  powers,  with  the  microscope,  which  are  varied 
to  suit  the  object  to  be  exhibited  ;  and  it  is  important 
to  observe  that  when  minute  objects  are  being  exhibited, 


190 


SCIOPTICON     MANUAL. 


and  a  high  power  consequently  in  use,  the  source  of 
light  should  be  drawn  farther  from  the  condensing  lenses.- 
A  very  interesting  addition  to  the  microscope  consists 
of  a  diagonal  mirror,  whereby  the  image  of  the  objects, 
instead  of  being  projected  directly  on  an  opaque  screen, 
may  be  thrown  down  at  right  angles  on  a  sheet  of  paper 
placed  on  a  table,  and  a  drawing  very  conveniently 
made. 

HOLMAN'S  SIPHON  SLIDE  (Fig.  53)  allows  the  passage 
of  a  continuous  current  of  water  for  the  purpose  of 
keeping  it  cool  in  the  focus  of  light.  It  is  designed 


Fig.  53. 

for  showing  the  circulation  of  the  blood  in  a  tadpole's 
tail,  of  the  sap  in  plants,  &c.  Its  price,  without  the 
bottles,  is  85.00. 

A  tank  filled  with  a  solution  of  alum  is  sometimes 
used  to  absorb  much  of  the  heat  of  a  beam  of  light 
before  it  falls  upon  a  delicate  microscopic  object. 


BCIOPTICON    MANUAL.  191 

THE    GAS    MICROSCOPE. 

BY  HENRY  MORTON,  PH.  D. 

The  projection  of  images  from  microscopic  objects  directly 
upon  the  screen,  with  the  gas  microscope,  has  always  been  a 
thing  much  desired  by  all  those  who  have  made  use  of  the 
magic  lantern  as  a  means  of  demonstration,  but  the  difficul- 
ties attending  this  experiment  have  been  found  much  more 
serious  than  was  anticipated  beforehand. 

This  is  especially  the  case  to  one  who  has  been  accus- 
tomed to  use  the  solar  microscope,  in  which  the  advantage 
offered  by  the  parallelism  of  the  solar  rays  is  of  so  great 
value. 

On  account  of  the  smallness  of  the  object  illuminated,  as 
compared  with  errors  of  focalizing  or  concentration  in  the 
cone  of  rays  coming  from  the  condenser,  all  the  advantages 
in  the  use  of  a  lens  in  a  magic  lantern,  as  compared  with 
its  use  in  a  camera,  or  the  like,  disappear,  and  the  lens  of 
the  microscopic  attachment  is  left  to  its  own  resources  (on 
the]  subject  here  referred  to,  see  Journal  of  Franklin  Iti- 
stitute,  vol.  62,  page  208  ;  Scientific  American,  1863,  vol. 
29,  page  163),  without  any  of'  that  aid  from  the  condensers 
which  they  afford  so  effectively  to  the  objective  of  the 
magic  lantern  in  its  best  form  of  construction. 

Among  the  errors  which  thus  become  conspicuous, 
the  most  manifest  and  vitally  important  is  the  want  of 
"flatness  of  field." 

By  reason  of  this,  while  the  centre  of  the  image  is  well- 
defined,  the  edges  are  indistinct  and  unsatisfactory.  To 
obtain  lenses  free  from  this  defect  has  been  the  continuous 
effort  of  some  of  our  ablest  opticians  for  the  last  ten  years, 
but  the  success  so  far  has  been  very  limited,  and,  indeed,  it 
would  seem  as  if  the  problem  was  one  for  whose  solution  we 
could  hardly  hope,  for  it  must  be  remembered  that  lenses 


192  SCIOPTICON    MANUAL. 

whose  flatness  of  field  in  the  table  microscope  leaves  noth- 
ing  to  be  desired  in  that  direction,  are  entirely  unsatisfac- 
tory when  used  in  the  gas  microscope. 

One  of  the  most  influential  causes  of  this  we  shall  notice 
presently,  but  we  will  here  only  remark  that,  as  the  result 
of  a  large  experience,  we  have  become  convinced  that  one 
must  be  contented  with  a  moderate  amount  of  success  in 
this  direction,  and  not  expect  what  is,  at  present,  at  all 
events,  impossible. 

The  second  great  defect  that  we  encounter  in  the  use  of 
the  microscopic  lens  for  projection,  is  the  irregularity  of 
distribution  of  light  upon  the  screen. 

By  reason  of  this  we  may  have  a  field  of  light  with  a 
small  bright  area  at  the  centre,  rapidly  fading  off  into  dark- 
ness, with  no  well-defined  margin. 

The  causes  of  this  are,  among  others,  the  confusion  or 
want  of  accurate  concentration  of  the  cone  of  rays  from  the 
condensers,  and  the  smallness  of  the  objective,  causing  it  to 
cut  off  oblique  or  marginal  rays  more  or  less,  according  to 
their  obliquity.  To  remedy  this  difficulty  we  can  work  in 
two  directions. 

In  the  first  place,  we  may  improve  the  spherical  correc- 
tion of  the  condensers,  or  the  concentrated  character  of.  the 
source  of  light.  The  first  of  these  improvements  has 
already  been  carried  to  its  practical  limit  in  the  best  sort  of 
condensers,  and  the  second  involves  the  use  of  the  electric 
light  or  of  sunlight. 

In  the  second  place,  any  increase  in  the  diameter  of  the 
microscopic  lenses,  without  a  corresponding  increase  in  their 
actual  length,  insures  a  great  gain  as  regards  the  equal 
illumination  of  the  field. 

With  this  view  alone,  therefore,  a  simple  uncorrected  or 
single  corrected  microscopic  lens,  such  as  accompanies  the 
regular  gas  or  solar  microscopic  attachment  made  for  the 


SCIOPTICON    MANUAL.  193 

last  fifty  years,  and  still  made  by  Duboscq,  and  other 
French  manufacturers,  would  be  the  best  form ;  and,  as  re- 
gards the  equal  distribution  of  light  on  the  screen  this  is 
true,  but  when  such  lenses  are  thus  used  and  of  sufficient 
size  to  secure  this  result,  their  errors  of  spherical  aberration 
and  want  of  flatness  become  unendurable. 

We  are  then  fenced  in  on  either  side  by  the  necessity  of 
a  large  and  short  lens  to  secure  an  equal  illumination,  and 
the  difficulty  in  securing  flatness  or  correction  under  these 
conditions. 

The  most  successful  compromise  which  we  have  yet  found 
in  this  connection  is  the  gas  microscope  objective,  of  H-inch 
focus,  made  by  Mr.  J.  Zentmayer,  the  well  known  manufac- 
turer of  microscopic  stands  and  lenses. 

With  one  of  these,  a  well  defined  object,  such  as  a  lady- 
bug,  mosquito,  or  the  like,  may  be  thrown  on  the  screen 
with  a  clear  image,  pretty  well  defined  up  to  the  margin, 
and  a  field  of  light  so  brilliant  and  regular  that  it  is  hardly 
distinguishable  from  that  of  an  ordinary  magic  lantern  pro- 
jecting a  colored  glass  slide  of  the  same  object.  Of  course, 
with  such  a  power,  very  minute  objects  must  be  rejected, 
but  by  a  judicious  selection  a  large  series  of  interesting  ones 
can  be  secured,  such  as  the  lady  bug  or  mosquito  already 
mentioned,  the  ant  lion,  field  spider,  and  various  water 
insects  or  Iarva3  of  mosquitoes,  and  the  different  sorts  of 
flies ;  also  wood  sections,  and  even  objects  so  small  as  the 
eye  of  a  dragon  fly,  but,  above  all,  with  this  power  may  be 
most  successfully  shown  what  are  by  far  the  most  popular 
illustrations  with  the  gas  microscope,  such  living  specimens 
as  the  various  larvse  above  mentioned,  and  such  other 
things  as  are  to  be  found  in  stagnant  water.  For  these  the 
very  simple  and  effective  form  of  life  slide,  devised  by  Mr. 
S.  Holman,  Actuary  of  the  Franklin  Institute,  Philadelphia, 
is  invaluable. 


194  SCIOPT1CON    MANUAL. 

It  consists  of  an  ordinary  microscopic  glass  slip,  of  greater 
thickness  and  size  than  usual,  with  a  spherical  cavity  about 
three  quarters  of  an  inch  across,  and  one-sixteenth  of  an 
inch  deep,  ground  and  polished  in  the  middle  of  one  face. 
This,  when  in  use,  is  closed  by  a  thin  glass  cover,  which  is 
kept  in  place  by  adhesion  and  atmospheric  pressure,  the 
cavity  beneath  it  being  filled  with  water  containing  the  insect 
or  other  object. 

If  it  is  desired  to  use  high  powers,  we  must  be  contented 
with  a  limited  selection  of  objects,  choosing  such  as  are 
strongly  defined  and  well  colored.  Diatoms,  blood-disks, 
or  other  objects  which  are  delicately  tinted  or  colorless  are 
quite  unfit  for  such  use.  A  strongly  colored  eye  of  a  fly, 
sting  of  a  wasp,  or  other  part  of  an  insect,  such  as  a  claw 
of  a  spider,  answer  well. 

In  this  case  I  have  obtained  the  best  results  with  Zent- 
mayer's  T%  objective,  using  an  extra  condenser,  consisting 
of  a  plano-convex  lens  of  about  three  inches  focus,  and  an 
inch  and  a  half  in  diameter,  placed  about  an  inch  back  of 
the  object. 

This  greatly  increases  the  illumination  of  the  field. 
In  using  the  gas  microscope,  much  depends  upon  the 
efficiency  and  convenience  of  the  support  for  lenses  and  the 
stage,  or  what  is  known  commonly  as  the  "  gas  microscope 
attachment." 

The  microscope  attachment  for  the  Sciopticon  is  repre- 
sented by  the  following  wood  cut. 

The  microscope  body,  to  which  the 
objective  is  attached  by  a  sliding  tube, 
is  fitted  to  the  grooved  arm,  and  moved 
by  rack  and  pinion  for  accurate  focus- 
ing, similar  to  our  best  table  micros- 
copes. This  curved  arm  is  fastened  to 
the  stage  plate,  which  is  attached  to 


SCIOPTICON    MANUAL.  195 

the  Sciopticon  by  a  tube  and  flange,  so  that  it  can  readily 
be  removed. 

The  object  carrier  is  made  of  strong  plate  glass,  pressed 
down  by  an  adjustable  spring,  admitting  of  a  delicate  move- 
ment of  over  one  inch  perpendicular  and  two  inches  lateral. 
Two  sliding  bars,  fitted  to  the  edges  of  the  glass  plate,  hold 
the  objects,  which  may  be  of  different  sizes,  to  the  stage.  In 
principle  it  is  what  is  known  by  microscopists  as  Zent- 
mayer's  glass  stage.  If  a  secondary  condenser  is  required, 
it  is  fitted  to  the  attaching  tube  back  of  the  stage. 

THE  MEGASCOPE. 

Although  the  light  reflected  from  the  illuminated  opaque 
object  in  the  opaque  lantern  is  dim,  as  compared  with  the 
direct  rays  through  a  magic  lantern  slide,  and,  notwith- 
standing the  dispersion  of  a  large  portion  of  even  this 
reflected  light  from  the  line  of  the  Megascope  objective, 
yet  the  image  of  small  objects  may  be  thrown  upon  the 
screen  on  a  large  scale  with  sufficient  distinctness,  not  only 
to  be  interesting,  but  to  be  practically  useful  for  purposes 
of  illustration. 

Bright  objects  presented  at  the  proper  angle,  such  as  a 
watch  with  its  movements,  flowers,  minerals,  beetles,  butter- 
flies, etc.,  show  quite  brilliantly,  while  the  images  of  duller 
objects,  or  of  plain  pictures,  are  hardly  suggestive  of  the 
title  of  Wonder  Camera,  commonly  applied  to  this  arrange- 
ment. 

Only  a  portion  of  most  objects  can  be  in  focus  at  once, 
for  the  lack  of  a  flat  surface.  To  bring  out  a  distinct  image 
of  even  a  flat  object  or  picture,  requires,  theoretically,  a 
larger  and  better  objective  than  ordinary  lantern  projec- 
tions, as  may  be  seen  in  Fig.  14,  page  25,  where  each 
point  in  the  transparent  object  transmits  (on  the  supposi- 
tion that  the  light  proceeds  from  a  point)  a  single  ray  in  the 


196  SCIOPTICON    MANUAL. 

direction  of  the  corresponding  point  in  the  image,  while 
reflected  light  spreads  from  each  point  in  all  directions. 

The  Sciopticon,  with  its  draw-front  removed,  happens  to 
be  well  shaped  for  shutting  over  the  front  end  of  the  lan- 
tern body  holding  the  condensing  lenses  p  and  q,  the  open 
end  of  the  Megascope,  which  is  shown  in  horizontal 
section,  as  if  looking  down  upon  it.  (Fig.  55.)  The 

door  D,  hinged  at  the 
shorter  side,  closes  at  an 
angle  to  reflect  the  light  in 
the  direction  of  the  focus- 
ing lens  o,  which  in  this 
case  is  the  Sciopticon  ob- 
jective screwed  into  a 
duplicate  flange.  The 
aperture  in  the  middle 
of  this  door,  or  Mega^ 
scope  stage,  allows  the  ob- 
mg.  55^  ject  or  carte  de  visite  to  be 

attached  to  the  outside  by  springs,  and  does  not  prevent  the 
object  or  picture  from  being  attached  to  the  inner  surface, 
which  is  also  provided  with  springs. 

Flame  illumination  has  the  peculiar  advantage,  in  the 
Megascope,  of  covering  some  two  and  a  half  inches  at  this 
outer  conjugate  focus  of  the  condenser,  so  that  a  portion  of 
the  margin  lost  in  the  lantern  is  here  available.  The  lime- 
light makes  at  the  focus  a  bright  hot  spot,  sometimes 
necessitating  the  drawing  the  Megascope  forward,  which 
does  not  change  the  angles  in  relation  to  the  lenses. 

The  Megascope  has  greater  advantages  as  an  attachment 
to  the  Sciopticon  than  as  a  separate  apparatus,  for  the 
illumination  is  better;  it  telescopes  over  the  lantern  body, 
which  is  not  in  the  way  of  the  backward  direction  of  its  ob- 
jective; it  is  simple  and  inexpensive,  and  what  it  can  do  for 
us  we  have  with  the  least  possible  trouble,  and  at  its  best. 


SCIOPTICON    MANUAL.  197 

THE  MAGIC  LANTERN  KALEIDOSCOPE. 

THE  KALEIDOSCOPE  was  invented  by  Sir  David  Brew- 
stcr,  in  1814,  and  all  who  have  witnessed  the  beautiful 
effects  produced  by  the  instrument  will  welcome  its 
adaptation  to  the  magic  lantern,  which,  notwithstand- 
ing the  attendant  optical  difficulties,  has  at  length  been 
accomplished. 


Fig.  56. 

The  instrument  is  shown  in  section  at  Fig.  56;  A  being 
a  sectional  view,  showing  the  disposition  of  the  mirrors; 
B,  an  outline  of  the  eight-celled  image;  (7,  a  side  view 
of  the  brass  mount,  containing  the  reflectors  and  lenses, 
with  sliding  adjustment  for  focusing,  and  projecting  the 
image  upon  the  screen. 

It  is  attached  to  the  lantern  by  unscrewing  the  front 
and  screwing  the  kaleidoscope  into  its  place,  turning  it 
round  in  its  sliding  tube  until  the  reflectors  are  upright, 
like  the  letter  V.  A  rack  slide,  containing  some  frag- 
ments of  colored  glass,  bugles,  beads,  and  other  trans- 
parent objects,  is  also  shown ;  this  is  introduced  into  the 
usual  slide-holder  of  the  lantern,  and  the  focus  adjusted 
by  sliding  the  kaleidoscope  in  or  out  until  its  back  lens 
is  at  a  proper  distance  from  the  slide. 

In  a  former  paragraph,  the  great  importance  of  having 


198  SCIOPTICON     MANUAL. 

the  various  parts  of  the  lantern  and  the  objects  to  be 
shown  properly  centred  has  been  dwelt  upon  at  some 
length.  Now,  however,  the  direction  is  to  raise  the  light 
about  an  inch  above  the  centre  of  the  condenser,  which 
can  best  be  done  by  sliding  a  narrow  board  under  the 
blow-pipe.  The  maximum  of  illuminating  power  is 
obtained  in  the  usual  way,  by  pushing  the  light  back- 
wards and  forwards,  and  the  correct  focus  is  obtained 
by  means  of  the  front  sliding  tube.  Any  dark  portions 
of  the  image  may  be  removed  by  turning  the  kaleido- 
scope round  a  very  little  to  the  right  or  left. 

The  instrument,  before  using,  should  be  warmed,  to 
prevent  what  is  popularly  known  as  the  "  steaming  of 
the  glass." 

Hackwork  frames,  containing  pieces  of  colored  glass, 
are  supplied  by  the  opticians;  but  exceedingly  beautiful 
effects  are  obtainable  with  the  chromatrope,  a  piece  of 
perforated  zinc,  the  bow  and  the  wards  of  a  key,  grasses, 
feathers,  a  bunch  of  oats,  etc.,  etc. 

Till:  OXYIIYDROGEN  POLARISCOPE. 

Fig.  57  shows  the  Oxyhydrogen  Polariscope,  which 
consists  of  two  tubes  inclined  to  each  other  at  an  angle 
of  56°  45',  and  truncated  at  their  points  of  junction; 
the  oval  space  thus  formed  being  closed  by  some  ten  or 
twelve  pieces  of  thin  crown  glass,  the  lowest  of  which 
is  blackened  to  absorb  the  polarized  ray.  This  appa- 
ratus replaces  the  object-glass  of  the  lantern,  which 
should  have  condensers  not  less  than  3£  inches  diameter. 
When  attached,  it  will  be  seen  that  the  light  emanating 
from  the  point  L,  after  passing  through  the  condensers 
C",  becomes  incident  on  the  crown  glass  G,  inclined  at 
the  polarizing  angle  (56°  45') ;  the  reflected,  and  in  this 
case  polarized,  light  then  passes  through  the  selenite, 


SCIOPTICON    MANUAL. 


199 


or  other  object,  in  the  aperture  at  0;  after  which  it  is 
brought  to  a  focus  by  the  object-glasses  at  jP,  and  finally 
again  polarized,  or  analyzed,  by  the  Nicol's  prism  P,  and 
thence  thrown  on  the  screen,  the  disc  on  which  should 
not  exceed  three  feet  in  diameter. 


Fig.  57. 

The  phenomena  connected  with  the  polarization  of 
light  are  attended  by  a  most  gorgeous  display  of  colors, 
and  are,  in  consequence,  among  the  most  attractive  in 
the  whole  range  of  physical  optics  ;  an  apparatus,  there- 
fore, which  facilitates  their  exhibition  to  an  audience 
becomes  a  most  valuable  adjunct  to  the  magic  lantern. 

The  subject  itself  is,  however,  of  too  recondite  a  nature 
to  admit  of  adequate  treatment  in  the  present  manual; 
the  reader  is  therefore  referred  to  Pereira's  lectures  on 
"  Polarized  Light/'  "  Ganot's  Physics,"  and  other  works 
on  Physical  Optics. 

The  objects  best  suited  for  the  polariscope  are  designed 
with  films  of  selenite  of  various  thicknesses  and  forms; 


2CO 


SCIOPTICON    MANUAL. 


sections  of  quartz,  cut  in  different  relation  to  the  axis 
of  the  crystal,  producing  most  splendid  tints;  unan- 
nealed  glass,  quill,  Iceland  spar,  and,  indeed,  almost 
any  matter  the  particles  of  which  are  in  a  state  of 
tension.  Specimens  may  be  seen,  and  lists  of  the  various 
designs  are  obtainable,  from  opticians  supplying  the 
apparatus. 

In  Fig.  57,  the  polarizer  consists  of  a  bundle  of  glass 
plates,  (7,  with  the  Nicol's  prism,  P,  to  analyze  the 
polarized,  reflected  rays. 


Fig.  58. 

The  polariscope  here  represented  (Fig.  58)  consists  of 
a  Foucault  prism,  of  36  millimetres  in  diameter,  as 
polarizer,  and  a  Nicol's  prism,  of  20  millimetres  in 
diameter,  as  analyzer. 


PRICED  CATALOGUE 


OF 


SCIOPTICON  APPARATUS 


AND 


MAGIC  LANTERN  SLIDES. 


MOT 

FOR  OIL  OR  LIMELIGHT. 


THE  SLIDES  ARE  IMPROVED  IN  QUALITY,  TO  COMPARE 
IX  EXCELLENCE  WITH  THE  SCIOPTICON; 

AND  CHEAPENED  IN  PRICE, 

TO  ENCOURAGE  MORE  GENERAL  INTRODUCTION. 


L.    CT. 
1340    CHESTNUT    STREET, 

PHILADELPHIA. 


NOTICE-SIXTH  EDITION. 


Apparatus  and  slides  may  be  ordered  from  this  catalogue  by 
simply  giving  the  class  and  number,  but  what  is  taken  from  else- 
where should  be  written  out  in  full,  to  avoid  all  chance  of  mistake. 

The  receipt  of  money  will  be  acknowledged  by  return  mail. 

When  goods  are  ordered  by  express,  C.  O.  D.,  a  remittance  of  ten 
dollars  should  accompany  the  order.  The  express  charge  for  col- 
lection will  be  added  to  the  amount  of  the  bill. 

It  will  save  express  charge  for  collection  to  send  the  amount  of 
the  bill  at  once,  with  the  order. 

Goods  ordered  to  be  sent  as  freight,  or  small  articles  ordered  to 
be  sent  by  mail,  should  be  prepaid. 

The  best  mode  of  remitting  money  is  by  a  bank  draft  made  pay- 
able to  my  order,  or  by  a  post-office  money  order,  or  by  express. 

The  Sciopticon  apparatus  is  our  specialty,  which  we  delight  in 
making  thoroughly  satisfactory.  We  furnish  slides,  improved  in 
quality  and  cheapened  in  price,  not  only  because  it  is  the  right 
thing  to  do,  but  because  it  does  credit  to  the  Sciopticon  and  extend* 
its  usefulness. 

All  goods  are  packed  with  great  care,  and  are  warranted  to  be  in 
good  condition  when  they  leave  our  premises. 

We  get  no  perquisites  for  boxing,  packing,  shipping,  or  other  ser- 
vice. The  common  custom  of  adding  extra  charges  subjects  the 
buyer  to  unforeseen  expense,  which  he  cannot  forecast  when  making 
prepayment. 

Correspondents  will  oblige  by  giving,  in  a  plain  hand,  their  post- 
office  address,  and  buyers  should  be  particular  in  giving  the  express 
station  to  which  the  goods  are  to  be  forwarded. 

Any  further  particulars  that  may  be  desired  will  be  cheerfully 
given  by  letter. 

L.  J.  MARCY, 

1340  Chestnut  Street,  opposite  the  U.  S.  Mint, 
PHILADELPHIA. 


INTRODUCTION 


TO   THE 


SCIOPTICON    CATALOGUE. 

Where  to  Look  for  Explanations. 

The  Sciopticon  Manual  (price,  in  full  binding,  75  cents) 
will  be  forwarded  gratis  to  purchasers  of  such  apparatus 
needing  explanation  as  is  described  therein,  to  which, 
therefore,  reference  may  here  be  made,  as  follows  : — 

For  operating  the  Oil  Sciopticon,  see  Manual,  p.  33 ;  or 
better,  see  inside  the  door  of  the  Sciopticon  case,  which  is 
usually  purchased  with  the  instrument,  at  the  extra  cost  of 
three  dollars. 

For  peculiar  arrangements  and  advantages  of  the  Oil 
Sciopticou,  and  of  the  Gas  Sciopticon,  and  how  to  secure 
the  fullest  advantages  of  both,  see  Manual,  p.  170,  and  this 
Introduction,  following. 

For  Dissolving  Views,  see  Manual,  p.  39  ;  Phantasma- 
goria, p.  45 ;  Screen,  p.  37 ;  Producing  Lantern  Slides, 
pp.  61, 135 ;  Chemical  Experiments,  etc.,  p.  83. 

About  Public  Entertainments  and  Descriptive  Lectures, 
see  Manual,  p.  94 ;  and  this  Introduction,  p.  xxv. 

For  operating  the  Lime  Light,  each  of  the  three,  see 
Manual,  pp.  152,  153,  155, 162,  163;  Adjusting  the  Jet  to 
the  Oil  Sciopticon,  p.  160 ;  Arrangement  of  Lenses  and 
Distances,  p.  164;  Dissolving  Cock,  p.  170;  Automatic 
Cut-off,  p.  167 ;  Preparation  of  Oxygen  Gas,  p.  172 ;  Prepa- 
ration of  Hydrogen  Gas,  p.  174;  Pressure  Boards,  p.  177; 
Gas  Cylinders,  p.  178 ;  Multum  in  Parvo,  p.  181 ;  Gas 
Microscope,  Zentmayer's  Arrangement,  p.  191 ;  Sciopticon 
Kaleidoscope  a  Success,  p.  197;  Lime-light  Polariscope, 
p.  18;  Sciopticon  Megascope,  p.  195. 

iii 


iv 


IXTBODUCTION. 


For  plans  and  directions  for  building  Gasometers  for 
Educational  Institutions,  say  in  the  basement,  that  the 
Lime  Light  maybe  always  available,  at  a  moment's  notice, 
in  the  lecture  room,  without  its  being  in  the  way  or  tedious 
to  prepare,  see  Manual,  p.  182.  As  the  apparatus 
described  is  believed  to  be  the  best  for  its  purpose  yet 
devised,  and  a  style  likely  to  be  extensively  introduced,  the 
plans  and  specifications  are  made  as  distinct  as  possible, 
and  easy  for  the  builder  to  follow. 


PECULIAR  ADVANTAGES 


OF  THE 


OIL-U&ST  SC10CTICOS. 


As  the  Sciopticon  was  originally  known  as  an  oil-light 
lantern,  its  peculiar  advantages  as  such  may  be  first  enu- 
merated. 

1.  The  Flame-chamber,  which  is  a  distinctive 
characteristic  of  the  Oil-light  Sciopticon,  is  in  itself  a  small 


INTRODUCTION.  V 

dark  lantern  with  a  front  and  a  back  glass  O  G,  suspended 
by  cross-strips  within  a  well-ventilated  protecting  shell, 
where  it  can  do  most  good  with  its  light,  and  the  least 
harm  with  its  heat.  Other  parts  of  the  apparatus  are  ad 
justed  with  ease  and  precision  to  this  fixed  centre  of  action, 
by  means  of  the  outer  shell  and  wooden  base,  which  are 
represented  in  the  above  illustration  as  mostly  cut  away  to 
show  these  internal  arrangements.  Thus,  by  allowing  un- 
obstructed draft  about  the  heated  chamber,  and  by  avoid- 
ing the  conduction  of  heat  by  contact,  the  intense  Sciopti- 
con  flames  become  available  without  inconvenience  to  the 
operator,  or  harm  to  adjacent  parts. 

2.  The  Lamp  (/S),  without  deflecting  cap  or  chimney, 
slides  horizontally  into  place,  so  that  the  bottom  of  the 
flame  chamber,  with  its  peculiar-shaped  aperture,  becomes 
the  deflecting  cap,  the  flame  chamber  becomes  the  base  of 
the  chimney,  and,  with  its  continuation,  is  the  chimney; 
which  happily  supersedes  the  troublesome  and  fragile  small 
chimney,    being   much   more   than    an    equivalent.      Be- 
sides being  thus  separate  from  the  heated  chamber,  direct 
conduction  of  heat  to  the  oil  cup  is  further  broken  by 
breaking  the  connection  on  each  side  of  each  tube,  as  at  u. 
The  material  is  tin  instead  of  brass,  because  it  is  not  so  free 
a  conductor  of  heat. 

3.  Two  Flames,  starting  wide  apart  at  v  v,  are  deflected 
toward  each  other  over  a  rising  current  of  air  which  thor- 
oughly oxygenates  the  inner  surfaces,  their  cumulative  heat 
favoring  perfect  combustion,  a  free  draft,  and  the  rapid 
escape  of  the  residual  gases  up  the  narrow  space  between. 

Other  dual  burners  (not  infringements  on  this)  either 
throw  the  two  flames  into  one — and  into  only  the  efficiency 
of  one,  because  only  the  outer  surfaces  are  oxygenated — or 


VI  INTRODUCTION. 

else  deflecting  them  too  far  apart  for  both  at  once  to  be 
fully  available  in  a  magic  lantern. 

4.  The  Two  Parallel  Sheets  of  Flame,  an 

inch  and  a  half  long,  thrown  as  nearly  together  as  possible 
without  interfering  with  complete  oxygenation,  or  the 
escape  of  the  residual  gases,  are  placed  in  the  direction  of 
the  axis  of  the  lenses,  so  as  to  fill  all  the  space  from  which 
light  can  pass  through  both  the  condenser  and  the  object- 
ive. Light  from  any  added  length  would  be  mostly  wasted, 
and  its  heat  would  be  troublesome.  If  the  flames  were 
placed  across  the  axis,  much  of  its  present  extent  would 
fail  of  reaching  the  illuminated  disk. 

5.  The    Chimney    Cap   (J")  is  held  in  place  by 
telescoping   the   portion   of   the   chimney  to  which  it   is 
attached,  into  the  lower  portion  I.     As  soon  as  the  flames 
warm  into  full  vigor,  being  turned  up  to  about  the  smoking 
point,  the  cap  may  be  lifted  some  four  inches,  say  by  a 
wooden  slide,  to  avoid  touching  it  with  the  hand,  which 
will  increase  the  draft,  slightly  lower  and  whiten  the  flames, 
intensify  the  light,  and  more  effectually  draw  off  the  heat. 
The  light  will   remain   steady   and   unchanged   for  two 
hours  and  more,  without  requiring  the  slightest  attention. 

6.  The  deflector  (H)  is  outside  the  flame  chamber, 
and  at  sufficient  distance  from  the  flames  not  to  be  injured 
by  them.     Its  burnished  surface  is  kept  from  tarnishing  by 
a  protecting  film.     Its  place  is  fixed  so  as  to  require  no 
adjustment  of  distance  or  direction.     It  answers  the  two- 
fold purpose  of  a  reflector  and  a  door. 

7.  The  Condenser  (pq)  is  suspended  free  from  con- 
tact, in  a  chamber  separate  from  the  flame  chamber,  with 


INTRODUCTION.  Vll 

free  space  between,  open  above  and  below.  Its  front  band 
presents  a  good  bearing  for  resting  the  slides  against, 
without  exposing  the  glass  to  be  scratched  by  them.  Its 
two  lenses  are  removable,  while  yet  they  are  securely  held 
in  concentric  cells  by  wire  rings  sprung  into  grooves. 

8.  The  Cylindrical  Form  of  the  body  is  suited 
to  the  size  and  shape  of  the  condenser  at  one  end,  and  the 
reflector  at  the  other,  with  opening  flaps,  setting  it  above 
the  wooden  frame,  giving  a  lamp  chamber  and  a  condenser 
chamber  both  separate  from  the  flame  chamber,  and  allow- 
ing unobstructed  air  passages  without  escape  of  light. 

9.  The  Stage  (o)  is  unobstructed  by  a  bulky  sliell 
wider  than  itself,  is  under  the  hand  of  the  operator  stand- 
ing behind    and   looking  toward   the  screen,  and  allows 
the  pictures  to  slide  horizontally   into  place,  one  after 
another,  without  exposing  a  blank  disk. 

The  catch  drawn  out  from  the  under  side  of  the  stage, 
and  turned  back  almost  out  of  the  way,  is  intended  to 
stop  the  slide  in  its  proper  position,  but  not  to  interfere 
with  its  being  moved  smoothly  along  and  out  by  the 
incoming  slide,  when  slipped  forward  from  the  catch  by  the 
left  hand. 

The  catch  pushed  back  into  its  sheath,  leaves  the  stage 
entirely  unobstructed  for  those  who  prefer  to  adjust  the 
slides  by  hand  only,  and  for  other  than  wooden  slides. 

The  use  of  stops  is  the  more  necessary  with  a  pair  of 
instruments,  as  it  is  essential  to  a  proper  effect  that  the 
dissolving  views  should  occupy  exactly  the  same  place  on 
the  screen  without  any  readjustment  after  the  dissolving 
becomes  visible. 

10.  The  Extension  Front  is  readily  removed,  to 


VI  INTRODUCTION. 

else  deflecting  them  too  far  apart  for  both  at  once  to  be 
fully  available  in  a  magic  lantern. 

4.  The  Two  Parallel  Sheets  of  Flame,  an 

inch  and  a  half  long,  thrown  as  nearly  together  as  possible 
without  interfering  with  complete  oxygenation,  or  the 
escape  of  the  residual  gases,  are  placed  iu  the  direction  of 
the  axis  of  the  lenses,  so  as  to  fill  all  the  space  from  which 
light  can  pass  through  both  the  condenser  and  the  object- 
ive. Light  from  any  added  length  would  be  mostly  wasted, 
and  its  heat  would  be  troublesome.  If  the  flames  were 
placed  across  the  axis,  much  of  its  present  extent  would 
fail  of  reaching  the  illuminated  disk. 

5.  The   Chimney    Cap   (J)  is  held  in  place  by 
telescoping   the   portion   of   the   chimney  to  which  it   is 
attached,  into  the  lower  portion  /.     As  soon  as  the  flames 
warm  into  full  vigor,  being  turned  up  to  about  the  smoking 
point,  the  cap  may  be  lifted  some  four  inches,  say  by  a 
wooden  slide,  to  avoid  touching  it  with  the  hand,  which 
will  increase  the  draft,  slightly  lower  and  whiten  the  flames, 
intensify  the  light,  and  more  effectually  draw  off  the  heat. 
The  light  will   remain   steady   and   unchanged   for  two 
hours  and  more,  without  requiring  the  slightest  attention. 

6.  The  Reflector  (H)  is  outside  the  flame  chamber, 
and  at  sufficient  distance  from  the  flames  not  to  be  injured 
by  them.     Its  burnished  surface  is  kept  from  tarnishing  by 
a  protecting  film.     Its  place  is  fixed  so  as  to  require  no 
adjustment  of  distance  or  direction.     It  answers  the  two- 
fold purpose  of  a  reflector  and  a  door. 

7.  The  Condenser  (pq)  is  suspended  free  from  con- 
tact, in  a  chamber  separate  from  the  flame  chamber,  with 


INTRODUCTION.  Vll 

free  space  between,  open  above  and  below.  Its  front  band 
presents  a  good  bearing  for  resting  the  slides  against, 
without  exposing  the  glass  to  be  scratched  by  them.  Its 
two  lenses  are  removable,  while  yet  they  are  securely  held 
in  concentric  cells  by  wire  rings  sprung  into  grooves. 

8.  The  Cylindrical  Form  of  the  body  is  suited 
to  the  size  and  shape  of  the  condenser  at  one  end,  and  the 
reflector  at  the  other,  with  opening  flaps,  setting  it  above 
the  wooden  frame,  giving  a  lamp  chamber  and  a  condenser 
chamber  both  separate  from  the  flame  chamber,  and  allow- 
ing unobstructed  air  passages  without  escape  of  light. 

9.  The  Stage  (o)  is  unobstructed  by  a  bulky  sKell 
wider  than  itself,  is  under  the  hand  of  the  operator  stand- 
ing behind    and   looking  toward   the  screen,  and  allows 
the  pictures  to   slide  horizontally   into   place,  one  after 
another,  without  exposing  a  blank  disk. 

The  catch  drawn  out  from  the  under  side  of  the  stage, 
and  turned  back  almost  out  of  the  way,  is  intended  to 
stop  the  slide  in  its  proper  position,  but  not  to  interfere 
with  its  being  moved  smoothly  along  and  out  by  the 
incoming  slide,  when  slipped  forward  from  the  catch  by  the 
left  hand. 

The  catch  pushed  back  into  its  sheath,  leaves  the  stage 
entirely  unobstructed  for  those  who  prefer  to  adjust  the 
slides  by  hand  only,  and  for  other  than  wooden  slides. 

The  use  of  stops  is  the  more  necessary  with  a  pair  of 
instruments,  as  it  is  essential  to  a  proper  effect  that  the 
dissolving  views  should  occupy  exactly  the  same  place  on 
the  screen  without  any  readjustment  after  the  dissolving 
becomes  visible. 

10.  The  Extension  Front  is  readily  removed,  to 


Vlll  INTRODUCTION. 

give  access  to  the  interior  of  the  instrument  and  for  vari- 
ous experiments.  It  can  be  drawn  forward  to  suit  a  lens 
of  longer  focus.  Its  hood  hides  reflected  and  diffused  light, 
and  allows  space  for  curtain  and  tinters. 

11.  The    Sciopticon     Curtain. — Turning    the 
milled  head  at  either  side,  gives  the  appearance  upon  the 
screen  of  a  curtain  rising,  or  falling,  thus  handsomely  open- 
ing or  closing  an  exhibition.     It  may  also  be  temporarily 
closed  at  any  time,  to  allow  the  attention  to  be  directed  to 
other  exercises. 

The  process  of  changing  the  pictures  may  be  hidden 
from  view  by  shutting  off  the  light  with  the  left  hand ;  then 
pushing  the  out-going  picture  into  the  left  hand  by  sliding 
another  into  its  place  with  the  right ;  and  then  flashing  on 
the  light  with  the  right  hand ;  all  of  which  may  be  sooner 
done  than  said.  In  any  change  of  programme  the  awk- 
wardness of  showing  the  "  full  moon,"  or  the  disk  without 
a  picture,  may  always  be  avoided  by  using  the  opaque  cur- 
tain. 

This  curtain  also  serves  as  a  back  cap  for  the  objective, 
protecting  the  back  lens  from  dust  and  light  when  not  in 
use,  as  the  front  cap  protects  the  front  lens. 

12.  The  Sciopticon  Tinters. — The  tinting-glasses 
are  drawn  up  close  behind  the  objective  lens  by  means  of 
rods  terminating  in  knobs  above.    This  lets  the  color  down 
upon  the  screen,  not  with  a  sharp  outline  like  the  curtain, 
but  with  a  gradual  shading.    With  the  blue  tint  partially 
drawn,  this  property  gives  to  plain  photographs  of  scenery 
a  blue  sky,  shading  off  without  abruptness  down  to  the 
horizon.    Slightly  drawing  up  the  blue,  then  the  red,  and 
then  turning  the  button  attached  to  the  opaque  curtain  a 
little,  fades  away  gradually  the  upper  portion  of  the  disk, 


INTRODUCTION.  IX 

as  is  desirable  in  such  slides  as  the  Ascension.  The  reverse 
movements  bring  into  view  gradually  the  "  Soldier's 
Dream,"  "  Angel  of  Peace,"  etc.,  nearly  as  well  as  with 
two  slides  in  the  dissolving  lanterns.  All  the  appearances 
formerly  produced  by  colored  glass  in  the  form  of  glass 
slides  are  better  effected  by  these  tinters.  If  at  any  time 
the  rods  become  too  loose,  the  stop  screws  may  be  tightened. 

13.  The  Wooden  Base  is  peculiarly  suited  to  sup- 
port the  several  parts  and  allow  of  their  free  and  precise 
adjustments,  and  to  break  the  metallic  conductions.     The 
claw  (ra)  and  the  flange  (n)  hold  it  securely  to  the  top  of 
the  carrying  case,  when  the  apparatus  is  in  use. 

14.  The  Sciopticon  is  an  Original  and  an 
Honest  Lantern. — Its  materials  are  what  they  seem 
and  what  the  purposes  require.     It  took  shape  to  effect  the 
ends  in  view,  without  regard  to  precedent,  or  sacrifice  to 
ornament.     It  is  tidy  and  snug,  and  its  beauty  is  in  its  fit- 
ness.   It  was  awarded  the  highest  premium  by  the  Judges 
at  the  late  Franklin  Institute  Exhibition,  who  reported  as 
follows : — 

"  The  Sciopticon  with  two  Coal  OH  Flames. — This  lantern 
originated  with  Mr.  Marcy,  and"  gives  the  best  light,  in 
every  respect,  yet  derived  from  oil.  Portability,  compact- 
ness, freedom  from  excessive  heat,  and  that  unusual  peculi- 
arity of  precisely  answering  its  intended  purpose"  are  among 
its  special  properties. 

The  Centennial  Jlfedal  has  been  Awarded  to 
this,  as  also  to  the  Lime-light  Sciopticon,  with  Diploma 
corroborating  its  claims 


PECULIAR  ADVANTAGES 


OP   THE 


LIME-LIGHT  SCIOPTICON. 


It  retains  many  of  the  peculiar  features  of  its  prototype, 
the  Oil-light  Sciopticon.  By  comparing  the  two,  it  will  be 
seen  that  the  wooden  base,  the  lower  and  front  part  of  the 
cylindrical  body,  the  condensing  lenses,  with  their  peculiar 
mounting  and  attachment,  the  draw  front,  with  hood,  opaque 
curtain,  tinters  and  objective,  are  the  same,  giving  to  it,  so 
far  as  they  go,  the  same  advantages,  and  the  same  general 
appearance. 

But  the  distinctive  Lime-light  Sciopticon  drops  the 
flame  chamber  and  its  relative  parts  for  the 

jfriple  Jet9  which  has  important  advantages  as  a  lime 
light  apparatus. 


INTRODUCTION.  XI 

It  is  mounted  in  wood  plated  with  metal,  which  protects 
and  holds  the  parts  firmly  in  convenient  position. 

The  lime  is  in  the  form  of  a  wheel,  two  and  a  half  inches 
in  diameter,  and  five-eighths  of  an  inch  thick,  giving  an 
available  surface  on  its  edge,  five-eighths  of  an  inch  wide, 
and  about  eight  inches  in  length. 

Tt  lies  loosely  in  its  holder  or  cradle,  with  its  projecting 
edge  presented  vertically  to  the  blow-pipe,  which,  without 
intercepting  the  light  toward  the  condenser,  inclines  back- 
ward more  than  is  shown  in  the  diagram,  and  impinges  the 
gas  just  below  the  middle  of  the  front,  at  about  an  angle  of 
forty-five  degrees,  so  the  heat  glances  toward  the  open  top, 
while  the  light  is  intercepted  in  that  direction  by  the  upper 
part  of  the  lime  wheel  itself.  Turning  the  lime  wheel  at  its 
projecting  back  edge  a  quarter  of  an  inch  or  so  (by  the  thumb 
and  finger,  it  being  a  non-conductor  of  the  heat  on  its  front 
edge),  brings  down  to  the  jet  a  fresh  but  hot  surface,  which 
is  kept  to  its  fixed  distance  by  resting  against  the  front  of 
its  holder. 

The  flat  mouth  of  the  jet  secures  to  a  fuller  flow  of  gas 
the  proportional  efficiency  of  a  smaller  opening,  and  more- 
over, favors  the  mingling  of  the  gases  outside  as  effectually 
as  it  is  done  in  the  mixed  jet,  or  nearly  so. 

The  mixed  jet  No.  3  now  resembles  No.  2  in  appearance, 
and  is  tipped  with  a  carefully  selected  gun  nipple,  extra 
ones  being  forwarded  with  the  apparatus  in  case  any 
accident  befalls  the  first. 

The  elongated  and  curved  top  of  the  lime-holder  socket 
serves  as  a  rest  for  the  lime  cradle,  as  a  guide  to  its  stem, 
and  as  a  shield  from  the  alcohol  wick. 

The  height  of  the  alcohol  in  the  wick  tube  is  little 
affected  by  tilting  the  lantern,  because  the  fountain  rests 
abreast  of  it. 

The  three  burners  are  interchangable,  giving  to  this  one 


Xll  INTRODUCTION. 

compact  and  convenient  arrangement   the  advantages  of 
the  three  ordinary  separate  instruments. 

The  clamp  acts  by  a  simple  turn  of  an  outside  lever,  to 
hold  firmly  the  base  of  the  jet  without  interfering  with 
raising  or  lowering  it. 

The  Shell  prevents  the  escape  of  light  with  the 
slightest  surface  and  bulk  for  retaining  the  heat.  It  is 
provided  with  side  fender  near  the  light,  and  is  arranged 
with  open  top  and  free  ventilation.  The  direct  light  can- 
iiot  be  seen  from,  behind,  but  its  comparative  intensity  and 
distance  from  the  jet  are  distinctly  seen  without  harm  to 
the  eyes,  as  reflected  from  the  surface  of  the  condenser. 
Its  compactness  brings  it  so  completely  under  the  hand  of 
the  operator,  standing  behind,  as  to  make  him  independent 
of  an  assistant. 

The  Automatic  Cut-off. — All  unnatural  condi- 
tions and  movements  detract  from  that  seeming  reality 
which  is  so  characteristic  of  projected  pictures.  Alas  for 
seeming  distance  and  solidity,  when  the  changing  of  the 
slides  suddenly  contracts  the  scenes  into  dancing  shadows 
on  a  screen.  Even  dissolving  views,  by  which  the  change 
is  effected  so  charmingly,  present  many  incongruities  at 
war  with  nature. 

The  Lime-light  Sciopticon,  however,  with  its  automatic 
cut-off,  shows  no  commotion  nor  commingling,  to  weaken 
the  stereoscopic  effect,  nor  any  blank  of  appreciable  dura- 
tion, for  suspense.  It  is  more  in  consonance  with  nature, 
and  is  less  hurtful  to  sight.  It  seems  like  closing  the  eyes 
on  one  scene  and  instantly  opening  them  on  another.  Its 
operation  is  natural  and  agreeable,  and  we  have  its  advan- 
tages in  a  single  instrument,  which  is  comparatively  inex- 
pensive. See  Manual,  pp.  167-170. 


INTRODUCTION.  Xlll 

How  to   Secure  the  Fullest  Advantages  of 

the  Oil  light  and  of  the  Lime  Light, 

all  at  the  Least  Expense. 


The  portion  of  the  Gas  Sciopticon  shown  above,  includ- 
ing the  triple  jet,  is  all  that  is  necessary  for  one  having 
the  Oil  Sciopticon  complete  to  have  the  Gas  Sciopticon 
also  complete,  for  the  condenser,  objective  and  draw-front 
are  perfectly  suited  to  either.  The  Lime  light  in  the 
Oil-light  Sciopticon  (see  Manual,  p.  160)  is  not  at  its 
best,  because  it  is  somewhat  inconvenient,  and  the  clamp 
and  the  automatic  cut-off  cannot  be  attached  to  it ;  neither 
is  the  Lime-light  Sciopticon  with  a  Sciopticon  lamp  and 
flame  chamber  sliding  into  it  a  perfect  arrangement. 
But,  with  the  Oil  Sciopticon  complete,  and  with  the 
Sciopticon  and  jet  as  shown  above,  either  of  them,  with 
the  lenses  and  draw-front,  is  at  its  best,  and  the  cost 
of  both  is  but  seventy  dollars,  or  sixty-five  without  the 
automatic  cut-off. 


xiv  INTRODUCTION. 

Late  Improvements. 

It  will  be  seen,  by  examining  the  triple-jet  as  now  made, 
that  it  has  been  improved  since  the  illustrating  cuts  were 
drawn,  by  plating  it  completely  with  metal,  to  prevent 
burning,  in  case  a  piece  of  hot  lime  falls  upon  it ;  by  the 
clamp  operated  at  the  side  of  the  lantern  body,  to  fix  it 
firmly  in  position  when  adjusted;  by  an  easier  working 
screw  in  a  more  convenient  position  for  regulating  the 
height,  and  which  will  lower  the  jet  so  it  will  slide  under 
the  flame  chamber  of  the  Oil-light  Sciopticon  ;  by  the 
backward  inclination  of  the  jet  tubes  so  as  to  strike  more  in 
front  of  the  lime;  by  giving  the  mixed  jet  a  conical 
shape,  and  tipping  it  with  a  gun  nipple  or  platina ;  by 
using  a  lime  holder  for  the  alcohol  burner,  which  is  held 
by  its  sliding  over  the  alcohol  tube,  utilizing  its  heat  in 
vaporizing  the  alcohol ;  by  a  roller  attached  to  the  latch  of 
the  winker,  and  a  thumb-screw  at  its  lower  bearing,  to  ease 
and  moderate  its  movement;  by  a  chimney  which  more 
completely  shuts  in  the  light  without  preventing  the  escape 
of  heat ;  by  a  hand-wrench  which  tightens  or  unscrews  the 
outer  *ube  by  its  half-round  end,  and  works  the  oxygen 
tube  and  nipple  with  the  other ;  by  using  a  shorter  holder 
and  a  larger  lime  (two  and  a  half  inches  in  diameter)  for 
the  gas  lantern ;  and  by  an  improved  spring  in  the  slide 
carrier. 

Though  we  often  indulge  in  reforming  our  apparatus,  as 
has  just  been  shown,  we  do  not  recommend  the  practice  to 
purchasers  at  the  first  start.  There  is  a  tendency  among 
experts  in  familiar  styles  to  modify  what  is  new  into  what 
is  more  in  accordance  with  preconceived  notions  ;  so  this 
apparatus  sometimes  gets  twisted  till  it  is  not  like  itself, 
nor  like  anything  else,  either.  For  example,  the  goose- 
neck jet,  which  is  a  familiar  form,  and  very  good  in  its 


INTRODUCTION.  XV 

place,  does  not  match  well  when  grafted  on  to  the  triple- 
jet.  The  peculiar  advantages  of  the  lime  wheel  are  lost  by 
a  flat-side  exposure.  The  several  lenses  of  the  objective, 
when  taken  apart  by  the  curious,  are  often  replaced  hap- 
hazard, to  the  confusion  of  all  distinctness  in  the  image. 

Many  operators  persist  in  standing  at  the  front  of  the 
instrument,  with  back  to  the  screen — because  the  old  lan- 
terns obliged  them  to — instead  of  standing  behind,  facing 
the  screen,  according  to  directions. 

It  is  a  mistake  to  suppose  that  the  Lime-light  Sciopticon 
is  not  as  effective  as  the  so-called  Stereopticon,  because  it  is 
smaller.  The  old  style  must  be  made  large,  because  of  the 
material  of  which  it  is  made,  and  the  amount  of  heat  con- 
fined in  it.  The  apparatus  herein  represented,  beside 
being  more  convenient,  is  in  every  respect  fully  equal  to 
the  best,  with  many  points  of  advantage  for  producing  the 
intensest  lime-light. 

Lantern   Projections   as    an   Educational 
Appliance. 

The  pathway  to  learning,  though  proverbially  not  a 
royal  road,  is,  nevertheless,  made  pleasanter  and  less  diffi- 
cult by  the  pictorial  illustrations  now  brought  to  bear  in 
schools  of  every  grade,  and  on  subjects  of  almost  every 
variety. 

Small  pictures,  though  invaluable  for  private  use,  seem 
comparatively  tame  when  passed  from  hand  to  hand  for  the 
entertainment  of  a  company,  but  when  projected  to  life- 
size,  they  seem  like  living  reality,  and  address  themselves 
to  multitudes  at  once.  They  are  viewed  with  cumulative 
enthusiasm  when  all  eyes  are  concentrated  upon  the  views 
under  discussion  one  by  one,  other  objects  being  kept  dark, 
and  so  out  of  mind. 


XVI  INTKODUCTION. 

Without  the  expense  or  fatigue  of  travel,  as  has  been 
truthfully  and  glowingly  said,  the  beholders  are  carried,  in 
imagination,  to  far  distant  lands,  where  they  may  gaze 
upon  the  art  treasures  and  wonders  of  the  old  world,  or  on 
the  mystic  temples  and  pyramids  of  the  river  Nile.  They 
may  run  riot  through  the  beautiful  palaces  of  Versailles, 
or  may  see  pass  before  them  a  panorama  of  events  covering 
ages  of  ancient  history. 

These  wonderful  sun-pictures,  seen  as  they  are,  magnified 
and  illuminated  by  the  intense  lights  used,  convey  to  the 
mind  of  the  spectator  a  better  idea  of  the  places  and  scenes 
depicted  than  could  be  had  by  reading  volumes  upon 
Volumes  of  books  of  travel.  In  speaking  of  the  statuary 
shown,  the  artists  themselves  say,  that  the  fullest  beauty  of 
the  original  sculpture  is  stereoscopically  reproduced  ;  in  fact, 
the  marble  seems  standing  out  before  you  in  bold  relief. 

Projected  pictures  in  the  lecture  room  have  pe- 
culiar advantages  over  charts  and  sketches,  which  are 
so  much  and  so  deservedly  praised  by  modern  educators. 
They  arrest  attention,  as  when  there  came  forth  fingers  of  a 
man's  hand  and  wrote  upon  the  plaster  of  the  wall  in 
Belshazzar's  palace.  They  are  not  subject  to  wear  and 
tear,  like  unwieldy  picture  charts  let  down  from  rollers  or 
sorted  out  of  mammoth  portfolios,  but  they  follow  one 
another  without  fuss  or  confusion,  "  like  the  baseless  fabric 
of  a  vision,"  and  then  dissolve  away  and  relieve  us  from 
all  care.  They  may  be  enlarged  or  contracted,  or  raised  or 
lowered,  or  faced  to  right  or  left,  or  changed  from  grave  to 
gay,  or  varied  by  a  succession  of  surprises  with  the  greatest 
facility,  though  in  appearance  they  are  as  large  and  solid 
as  the  Alps. 

They  are  free  from  the  confusing  gloss  of  painted  and 
Varnished  surfaces ;  they  are  seen  from  every  direction  in  the 
best  light,  and  are  themselves  the  source  of  sufficient  light 


INTRODUCTION.  xvii 

to  relieve  the  room  from  unpleasant  darkness.  They  fix 
impressions  upon  the  brain,  so  to  speak,  with  a  photographic 
accuracy  and  fullness  of  detail  not  realized  in  that  modern 
favorite,  the  blackboard,  even  with  an  accomplished 
draughtsman  as  lecturer. 

While  these  projections  may  not  fully  take  the  place  of 
models  and  physical  instruments,  they  may  be  largely  used 
in  their  stead,  and,  moreover,  they  can  present  enlarge- 
ments of  what  in  them  is  small,  bring  into  view  hidden 
parts,  show  in  detail  what  is  complex,  and  so  cover  the 
whole  ground  of  an  extensive  and  expensive  assortment  of 
other  philosophical  apparatus,  and  very  much  besides 

An  Oil-light  Sciopticon  and  case,  with  a  slide-carrier  and 
a  glass  tank,  and  two  hundred  scientific  sciopticon  slides, 
showing  more  than  two  thousand  objects  distinct  and  clear, 
are  all  now  herein  offered  for  one  hundred  dollars.  These 
representations  are  as  well  classified,  and  can  be  as  plainly 
seen,  to  say  the  least,  as  the  real  objects  in  the  cabinets  of 
any  academy  of  natural  science.  These  sciopticon  slides 
are  remarkably  clear,  and  yet  vigorous,  so  as  to  be  suited 
both  for  the  oil  and  for  the  lime-light.  Poor  slides  are 
sometimes  sold  at  half  price,  but  it  is  a  new  thing  for  the 
best  slides  to  be  offered  at  less  than  half  price.  There  must 
be  large  demand  to  justify  such  reduction. 

The  cost  of  producing  each  depends  much  on  the  quantity 
made,  and  the  profit  depends  much  on  whether  the  whole 
production  meets  with  ready  sale.  As  bottom  prices  and 
lavish  advertisements  are  incompatible,  I  venture  here  to 
solicit  of  educators  a  good  word  freely  spoken  by  those  who 
know,  to  fellow-laborers  who  do  not  know,  the  advantages  of 
our  apparatus  and  terms. 


XVJ11  INTRODUCTION. 

Comparison  of  t*e    Different   Sources  of 
III  u initiation. 

Of  course,  the  brighter  the  illumination  the  more  satis- 
factory are  magic-lantern  projections.  Lights  are  so  vari- 
able that  an  exact  ratio  of  their  relative  intensity  can  hardly 
be  given,  and  besides,  their  efficiency  cannot  be  counted  in 
exact  proportion  to  the  amount  of  light  given. 

The  Electric  light  is  by  far  the  most  intense,  but,  for  the 
most  part,  the  difficulties  at  present  attending  its  use  practi- 
cally throw  it  out  of  the  question. 

The  Magnesium  light,  though  approaching  the  Lime 
light  in  brightness,  is  too  uncertain  to  be  relied  on,  and  its 
fumes  are  troublesome. 

House  gas,  though  well  suited  for  common  illumination, 
lacks  the  concentration  so  essential  in  the  lantern 

Practically  the  Lime  light,  variously  rated  at  100  candles 
and  upward,  must  mostly  be  relied  on  for  brilliant  public 
exhibitions. 

Marcy's  lamp  gives  the  brightest  flame  illumination,  but 
it  is  not  only  its  amount  of  light  and  its  intensity,  but  its 
advantageous  shape,  which  gives  it  such  remarkable  effi- 
ciency in  the  Sciopticon 

Of  course  the  room  should  be  effectually  darkened  pre- 
paratory to  an  exhibition.  The  apparent  brightness  of  the 
pictures,  however,  depend  very  much  on  whether  the  pupil 
of  the  eye  is  more  or  less  dilated.  It  is  safe  to  say  that  a 
person  coming  to  an  Oil-light  exhibition  from  the  darkness 
of  evening  would  be  as  much  impressed  by  it  as  if  coming 
suddenly  from  the  light  of  day  to  witness  the  effect  of  lime 
light.  Care  should  be  taken,  therefore,  to  give  time  for  the 
eye  to  become  accustomed  to  the  darkness,  and  to  prevent 
dazzling  brightness  from  reaching  the  spectators  from  the 
instrument,  or  from  the  white  screen,  as  well  as  from  lights  but 
partially  shut  off.  According  to  the  same  principle,  passing 


INTRODUCTION.  XIX 

colored  shades  over  the  screen  occasionally,  by  using  the 
tinters,  gives  a  sense  of  a  brighter  light. 

For  large  public  exhibitions,  the  mixed  jet  lime-light  is 
necessary,  and  is  in  common  use,  mostly  in  two  lanterns, 
with  the  dissolving  cock,  for  producing  the  dissolving 
views.  A  single  lantern  with  automatic  cut-off  and  glass 
slides  produces  an  agreeable  effect,  and  is  much  easier  and 
cheaper.  See  Manual,  page  168. 

The  Mixed  Jet  can  also  be  used  to  great  advantage  in 
educational  institutions,  where  the  gases  are  stored  in  gaso- 
meters, as  recommended  in  the  Sciopticon  Manual,  page  182. 

This  makes  available,  at  a  moment's  notice,  the  best 
light,  and  it  can  be  used  in  the  daytime,  with  such  dark- 
ening of  the  windows  as  can  easily  be  effected  by  shutters 
or  curtains. 

The  effects  of  the  Concentric  Jet,  No.  2,  is  scarcely 
inferior  to  the  mixed  jet,  and  there  is  a  great  advantage 
in  using  it,  wherever  the  house  gas  is  within  reach,  because 
it  is  easier  to  manage,  and  because  it  is  not  at  all  dangerous. 

The  Alcohol  Burner,  No.  l,is  somewhat  more  difficult  to 
manage  than  either  of  the  other  forms  of  lime  light,  but 
is  used  to  advantage  where  hydrogen  or  house  gas  is  not 
easily  obtainable. 

The  Sciopticon  with  its  oil  lamp,  rather  than  with  its 
lime  light,  though  less  effective,  continues  to  be  the  choice 
of  the  many,  for  its  being  always  ready,  easy  to  manage, 
and  inexpensive  to  use;  showing  with  great  brilliancy 
and  steadiness  for  hours  without  readjustments  or  annoy- 
ance, and  without  heating  the  oil  or  cracking  the  glass  ; 
while  to  close  an  exhibition,  we  have  no  further  care  than  to 
turn  down  the  wicks. 

As  a  Home  Influence,  it  is  worthy  of  all  praise.  Without 
drudgery  or  delay  it  transforms  the  drawing  room  into  an 
art  gallery,  where  the  family  circle  may  pass  their  leisure 


XX  INTRODUCTION. 

evenings  "  mid  pleasures  and  palaces/'  without  roaming 
from  "  home,  sweet  home." 

Sunday-school  Workers  find  it  manageable  and 
specially  useful  in  explaining  Bible  scenes  and  localities, 
and  Oriental  manners  and  customs.  The  Sunday-school 
Concert  is  made  intensely  interesting  by  illustrating  the 
recitations  of  the  children,  and  by  projecting  hymns  upon 
the  screen,  to  be  sung  in  concert.  Series  of  Bible  and 
Holy  Land  Views  are  very  carefully  selected,  with  special 
reference  to  the  Sunday-school  work.  Illustrations  in  out- 
line, mottoes,  hymns,  etc.,  can  also  be  drawn  by  hand,  as 
occasion  requires.  These  fascinating  representations  and 
exercises  not  only  promote  the  growth  and  usefulness  of  a 
Sunday-school,  but  when  necessary,  serve  as  a  ready  means 
of  raising  funds. 

Scripture  illustrations  corresponding  to  the  subjects 
enumerated  in  Class  v,  page  12,  are  now  made  very 
clear  and  distinct  for  Sunday-school  use,  in  the  Oil-light 
lantern,  of  which  we  give  with  the  instrument  and  case 
a  hundred  slides,  with  five  hundred  distinct  illlustrations, 
for  seventy-five  dollars. 

The  Oil-light  Sciopticon  is  the  only  efficient  lantern  for 
the  lecture  room  that  does  not  require  constant  watching 
and  hours  of  drudgery.  It  permits  the  teacher  to  give  his 
undivided  attention  to  his  subject,  and  so  is  in  common  use 
in  first-class  institutions,  where  the  lime  light  is  held  in 
reserve  for  great  occasions. 

The  Oil-light  Sciopticon  is  also  unrivaled  for  Masonic 
and  other  Societies,  for  ordinary  Public  Exhibitions,  for 
Social  Entertainments,  for  conveniently  showing  up 
chemical  reactions,  living  insects,  minnows,  water  newts, 
etc.,  photographs  of  microscopic  objects,  natural  and  dis- 
eased tissues,  enlargements  for  sketching,  negatives  and 
positives  for  examination  and  discussion  in  photographic 


INTRODUCTION.  XXi 

associations,  and  for  objects  too  numerous  to  particularize. 
With  slides  improved  in  quality  and  cheapened  in  price, 
this  unique  form  of  Magic  Lantern  is  inaugurating  a  new 
era  in  this  species  of  representation,  for  it  can  be  easily 
used  and  with  good  effect,  where  troublesome  and  compli- 
cated arrangements  would  be  altogether  out  of  the  question. 

The  Slide  Question— Plain  or  Colored? 

The  better  class  of  colored  slides  will  doubtless,  to  a 
large  extent,  continue  to  be  a  necessity,  notwithstanding 
plain  photographs  on  glass,  which  are  now  made  so  fine,  so 
abundant,  and  so  cheap,  constitute  our  main  reliance.  The 
work  of  the  skillful  painter  is  too  costly  to  be  largely 
afforded,  while  glass  photographs  are  printed  and  mounted 
by  less  and  cheaper  labor.  The  best  colored  slides  are  first 
photographed  from  large  fine  engravings,  which  give  to 
the  subsequent  high  coloring  which  these  pictures  admit  of 
fine  and  distinct  outlines  ;  the  best  uncolored  slides  are 
mostly  taken  from  sober  nature,  with  such  detail  of  shad- 
ing as  scarcely  to  admit  of  improvement  from  the  painter's 
brush. 

The  colored  slides  in  this  catalogue  are  mounted  in 
balsam,  between  plate  glass,  in  wooden  frames,  with  circular 
opening  three  and  a  half  inches  in  diameter  (see  "  New 
Departure,"  Manual,  page  146).  The  price  ($2.50,  the 
market  price  of  the  old-fashioned  kind)  continues  to  stand 
as  in  old  editions,  while  the  quality  is  far  better,  and  the 
cost  of  production  is  considerably  greater.  Some  subjects 
can  be  better  mounted  in  frames  with  square  openiug ;  this 
style  is  priced  the  same,  and  is  called,  ^>ar  excellence,  the 
Art  slide.  It  must  be  confessed,  that  there  are  compara- 
tively few  additional  subjects  corresponding  in  excellence 
with  the  colored  slides  enumerated  in  Classes  I  and  II  of 


XXII  INTRODUCTION. 

Part  Secern^,  so  tnat  customers  looking  for  the  most  beauti- 
ful effects,  without  being  restricted  to  a  specific  programme, 
will  do  well  to  consult  these  choice  selected  lists. 

Plain  slides  are  now  more  frequently  called  for  than 
those  colored  and  mounted  in  wood,  not  only  because  they 
are  cheaper,  but  because  they  are  really  quite  in  the 
fashion. 

Most  of  the  plain  or  glass  slides  in  market  are  in  one  or 
other  of  three  shapes,  viz. : 

1.  Views  of  interest  in  America,  produced  by  Ameri- 
can  photographers,   are   mostly   made    on   quarter    plate 
B.   P.   C.   glass    (best  polished    crown    glass,   three  and 
a   quarter    by   four  and   a    quarter  inches).     This  gives 
to  the  sides   of  the  three-inch  pictures  a  margin  of  fully 
half  an  inch  for  labels  and  for  handling.     The  Woodbury 
and  the  Scientific  Sciopticon  Slides  are  also  of  the  same  size 
and  shape. 

2.  The  French  slides  are  but  four  inches  wide,  the  quar- 
ter of  an  inch  being  taken  from  the  picture,  and  they  are 
of  thin  glass.     They  are  extensively  used,  and  the  best  of 
them  are  doubtless  the  best  in  the  maiket. 

3.  The  English  slides  have  also  a  smaller  picture,  with 
just  margin   enough   all   round  for  binding,  making   the 
whole  three  and  a  quarter  inches  square.     They    are   apt 
to  fail  of  covering  the  full   opening  in   the  slide  carrier ; 
the  name  has  to  be  stuck  on  the  edge,  and  there  are  twice 
as  many  ways  of  getting  it  on  to  the  screen  in  a  wrong 
position. 

The  Scientific  Sciopticon  slides  are  the  most  uniformly 
good  for  their  purpose,  and  are  put  at  the  low  price  of 
thirty. cents  each,  or  twenty-five  cents  each  by  the  set,  to 
insure  their  being  introduced  so  extensively  as  to  be  manu- 
factured to  advantage.  French  slides  are  here  reduced  to 
sixty  cents  each,  and  the  most  of  others  to  fifty  cents. 


INTRODUCTION.  Xxi'll 

Nature  or  Art? 

An  unreasonable  prejudice  prevails,  to  some  extent, 
against  all  slides  not  photographed  from  nature.  When 
there  is  a  choice,  as,  for  example,  between  a  photograph  of 
the  Egyptian  Pyramids  and  an  artist's  representation,  as 
roughly  shown,,  page  113  of  the  Manual,  the  sun  picture 
surely  has  the  advantage  ;  yet  something  can  be  said,  even 
in  this  case,  for  the  artist,  who  gathers  the  details  of  many 
chance  observations  into  one  view,  and  groups  the  camels 
and  Arabs  into  an  artistic  pose  more  picturesque  than 
would  come  within  the  range  of  a  photographer's  average 
luck.  Historic  and  art  pictures,  and  scientific  illustrations, 
which  have  been  wrought  out  by  the  best  skill  and  learn- 
ing of  the  present  and  the  past,  can,  for  the  most  part,  only 
be  copied  into  slides  from  these  works  of  art. 

Strong  or  Faint? 

It  is  a  mistake  to  suppose  that  pictures  intended  for  the 
Sciopticon  should  be  selected  with  special  reference  to  the 
light  used.  The  proper  density  for  the  Sciopticon  flame 
illumination  differs  little,  if  any,  from  what  is  best  for  the 
lime  light  proportionally  enlarged.  Dense  pictures  fogged 
in  the  high  lights,  may  be  shown  a  little,  by  lime  light,  and 
the  glaring  defects  of  coarse  pictures  may  show  less  by  oil 
light,  but  neither  class  is  worthy  of  being  recommended. 
The  class  of  customers  most  anxious  to  secure  clear,  bright 
pictures,  are  professional  exhibitors  with  a  lime  light. 

The  Bad  and  the  Good. 

It  is  matter  for  regret,  that  with  our  present  facilities  for 
producing  good  slides  of  every  class,  so  many  bad  ones 


XXIV  INTRODUCTION. 

should  flood  the  market.  Faults  may  arise  from  poor 
subjects,  bad  chemicals,  foggy  plates,  cloudy  weather, 
careless  manipulations,  or  any  of  the  many  drawbacks  that 
glass-slide  photography  is  peculiarly  liable  to,  as  well  as 
from  colors  hastily  and  unskillfully  applied.  Slides,  good, 
bad  and  indifferent,  made  in  quantity  and  sold  to  dealers 
without  remnants,  can  be  afforded  at  low  price.  The 
anxiety  of  purchasers  to  buy  at  a  bargain  favors  the  work- 
ing off  of  this  stock. 

To  counteract  this  tendency  the  New  Departure  slides, 
though  involving  much  greater  outlay  than  those  of  the 
ordinary  size,  have  nevertheless  continued  to  be  sold  at  the 
old  price.  Few  would  be  willing  to  give  more,  and  yet  it 
is  felt  to  be  necessary  to  introduce  a  better  class  of  slides, 
in  order  to  show  the  capabilities  of  this  species  of  represent- 
ation. Unskillful  productions  of  glass  slides  are  avoided, 
and  selections  from  good  lots  are  very  carefully  made,  and 
then  priced  at  a  low  figure.  We  make  it  for  the  interest 
of  purchasers  to  lay  their  commands  on  us,  that  they  may 
have  reason  to  be  satisfied  if  they  do  so,  and  that  they  may 
be  losers  if  they  fail  to  do  so. 

What's  in  a  Name? 

It  is  found  that  some  rousing  title  to  a  public  entertain- 
ment helps  to  popularize  it  in  advance.  The  following  is  a 
suggestive  list  of  subjects : — 

The  World,  from  Chaos  to  Man.  Constantinople  and    the  Bospho- 
The  History  of  Joseph.  rus. 
The  Pilgrim's  Progress.  China  and  the  Chinese. 
Ten  Nights  in  a  Bar-room.  The  Ice-bound  Seas  of  the  Frozen 
The  Drunkard's  Career  and  End.  North. 
Life  and  Journeyings  of  St.  Paul.  The  Emerald  Isle. 
Milton's  Paradise  Lost.  An  Evening  with  the  Ancients- 
Important   Events  in  American  Egypt,  Greece,  and  Rome. 
History.  The  Wonders  of  the  Star  Depths. 


INTRODUCTION. 


XXV 


The  foregoing  are  mostly  in  colored  slides:  the  following 
are  plain  photographs  from  nature :  — 


America,  The  Home  of  the  Free. 
Across     the      Continent,      from 

Ocean  to  Ocean. 
Magnificent      Scenery      of     the 

Great  West. 
California  and  the  Yosemite  Val- 

ley. 

England  and  its  Cathedrals. 
Scotland  and  the  Highlands. 
Ireland  and  the  Lakes  of  Killar- 

ney. 
London,    the    Metropolis  of  tho 

World. 

A  Journey  from  London  to  Paris. 
Paris  and  the  Louvre. 
The  Art  Treasures  of  Paris  and 

Versailles. 

A  Flying  Trip  to  Places  of  Inter- 
est in  Europe. 
The  Beautiful  Rhine,  its  Castles 

and  Romances. 

The  Cities  of  the  Mediterranean. 
Venice,  Naples,  Athens,  and  the 

Mediterranean. 
Rome,  the  Eternal  City. 


Italy  and  the  Art  World. 
Constantinople  and  the    Mystic 

Orient. 
Panorama  of  the  Great  Cities  of 

Europe. 

Switzerland  and  Mont  Blanc. 
St.  Petersburg,  Moscow,  and  the 

Kremlin. 

Jerusalem,  the  Holy  City 
Wandering    on  Holy     Ground, 

from  Dan  to  Beersheba. 
The   Wonders  of  Egypt  and  the 

River  Nile. 

The  Alhambraand  Sunny  Spain. 
A  Panorama  of  the  Great  Cities 

of  the  World. 
A  Tour  of  the  World  in  Eighty 

Minutes. 

The  Wonders  of  the  World. 
Masterpieces  of  Ancient  and  Mo.i- 

ern  Art. 

History   of  Culture. 
Gems  of  the  Centennial  Exhibi- 
tion. 


We  furnish  Descriptive  Lectures,  without  charge,  to  ac- 
company sets  of  slides  of  the  following  subjects: — 


Egypt  and  the  Nile. 

Syria  and  Palestine. 

Life  and  Travels  of  St.  Paul. 

Pilgrim's  Progress. 

Christiana  and  her  Children. 

Rome,  the  Capital  of  the  Cesars 

and  the  Popes. 
Tour  in  Switzerland. 
Tour  on  the  Rhine. 
Paris. 
Ireland. 

3 


China  and  the  Chinese. 

Astronomy— Natural  Phenomena 

The  Tabernacle  and  Temple. 

Bible  Animals,  Scripture  Cus- 
toms and  Manners. 

The  Cities  of  Southeast  Europe. 

The  Cities  of  Northeast  Europe. 

Italy,  its  Ancient,  Mediaeval  and 
Modern  Cities. 

American  Scenery  in  the  Far 
West  etc. 


XXV111  I  N  T  R  O  D  U  C  TI  O  X  . 

tives  which  we  exclusively  hold)  are  made  in  New  Depart- 
ure style  i*t  $2.50  each.  All  the  emblems  in  the  degrees  of 
Entered  Apprentice,  Fellow  Craft  and  Master  Mason, 
arranged  in  accordance  with  the  American  system  of  lec- 
tures, are  distinctly  shown  on  thirty  plain  glass  slides. 
The  price  of  the  set  is  ten  dollars.  These  and  some  other 
technical  subjects  are  not  catalogued  in  detail. 

Views  of  interest  in  different  parts  of  the  world,  named  in 
class  vi,  are  among  our  most  beautiful  slides ;  and  the  list 
might  be  greatly  extended  to  advantage,  were  it  not  that 
all  subjects  that  admit  of  being  taken  directly  from  nature 
are  now  mostly  preferred  in  Levy  or  other  plain  slides. 

The  Scientific  Department  of  Part  Second  can  hardly  be 
better;  the  Scientific  Sciopticon  slides  of  Part  Third,  how- 
ever, cover  much  more  ground  for  less  money,  and  in  this 
direction  we  are  resolved  that  something  more  than  has 
been  done  shall  be  done.  The  same  departure  from  the 
old  three-inch  size  is  carried  into  statuary  and  the  wood- 
mounted  scientific  slides.  The  increased  cost  prevents  re- 
duction in  price. 

Great  care  has  been  taken  to  catalogue,  in  Part  Third,  the 
most  desirable  selections  from  the  almost  endless  variety  of 
foreign  and  domestic  glass  slides,  and  to  arrange  them  in 
natural  order. 

It  will  be  observed  that  we  not  only  claim  to  represent 
improved  apparatus,  but  that  our  prices,  where  concession 
is  admissible,  range  very  low. 

We  are  gratified  by  the  growing  favor  with  which  the 
Sciopticon  in  both  forms  is  received,  and  we  choose  not  to 
load  it  down  in  its  course  with  lame  accessories,  poor  slides, 
high  prices,  or  unlooked-for  contingent  charges. 


PRICE  LIST  OF  SCIOPTICON  APPARATUS. 

The  ordinary  Sciopticon  condenser  consists  of  a  4  j-inch  collecting 
lens  and  a  4r%-inch  concentrating  lens,  with  a  combined  back  focus 
of  2  inches.  This  arrangement  seems  the  best  for  standard  slides 
and  for  ordinary  use.  To  substitute  a  4£-inch  condenser  adds  $5  to 
the  price.  It  adds  $3  to  the  expense  to  substitute  an  objective  of 
10-inch  back  focus  with  condenser  to  match,  to  be  used  in  the  back 
gallery  of  a  church,  for  example  (see  Manual,  p.  164). 

1.  THE  OIL  SCIOPTICON,  complete,  of  the  latest  and  most 

careful  and  finished  construction  (see  Introduction,  p.  iii)  845  00 

2.  Sciopticon  Case,  for  carrying  the  Instrument  in,  and  for 

standing  it  upon  when  in  use 3  00 

3.  Sciopticon  Case  (same  as  No.  2),  with  the  addition  of  ad- 

justable legs 5  00 

4.  Box,  for  100  wooden-mounted  slides 250 

Box,  for  60  wooden-mounted  slides 1  50 

5.  Double  Case,  for  a  pair  of  dissolving  Sciopticons,  which, 

with  its  adjustable  legs,  becomes  the  exhibiting  stand; 
black  walnut,  finely  finished  and  polished 10  00 

6.  Dissolver,  for  a  pair  of  Sciopticons  with  oil  lamps 200 

7.  Pair  of  Sciopticonsf  like  No.  1,  with  case  and  dissolver, 

Nos.  5  and  6  (see  Manual,  p.  40,  Fig.  16) 100  00 

8.  Screen,  12  feet  long,  9  feet  wide,  without  seam,  hemmed  and 

with  loops 3  00 

Screens,  rollers  and  frames  of  any  specified  size  made 
to  order. 

1 


9.    Ufarey's  Triple  Jet,  alcohol,  concentric  and  mixed  (see 

Manual,  p.  158) 815  00 

Without  alcohol  fountain 12  00 

10.  THE  LIME-LIGHT  SCIOPTICON,  complete.  Including 

triple  jet  and  clamp,  and  the  automatic  cut-off,  with  its 
peculiar  slide  carrier  (see  Introduction,  p.  ix,  and  Manual 
pp.  161,168) 50  00 

11.  Same  as  No.  10,  but  without  the  alcohol  fountain 47  00 

12.  AVtweas  No.  11.  but  without  the  cut-off. 42  00 

13.  Both  the  Oil  Sciopticon  No.  1,  and  the  Gas  Sciopticon  No. 

10,  all  complete,  hut  with  only  one  set  of  lenses  (see  Intro- 
duction, p.  xi) 70  00 

14.  Same  as  No.  13,  but  without  alcohol  fountain 67  00 

15.  Dissolving  Cock,  with  screws  to  adjust  to  either  mixed  or 

concentric  Jets  (see  Manual,  p.  171) ". 1200 

16.  Dissolving  Cock,  for  alcohol  burners 600 

GAS  BAGS,  G E3TER ATORS,  ETC. 

II.    India-Rubber  Bag,  best  quality,  30  inches  long  by  24  inches 

wide,  with  large  stop-cock 10  00 

18.  India-Rubber  Bag,  best  quality,  40  inches  long  by  30  inches 

wide,  with  large  stop-cock 14  00 

19.  India- Rubber  Bag,  large  size  wedge,  best  quality,   40 

Inches  long  by  30  inches  wide,  with  large  stop-cock 18  00 

20.  Pressure    Boards    (generally    Improvised— see    Manual, 

p.  175) 3  00 

21.  Retort  and  cap,  wash-bottle  and  connections  (see  Manual, 

p.  173,  Fig.  46,  6,  c,  d,  e,f} , 7  00 

22.  Gas  Furnace  (see  Manual,  p.  173,  Fig.  46,  a) 2  CO 

23.  Alcohol  Lamp,  with  three  wicks,  for  heating  retort,  etc. 

(common  stove  often  used  instead) 1  00 

24.  Same  as  No.  21,  but  of  extra  size,  for  gasometer,  described  in 

Manual,  p.  182 9  00 

25.  Five-gallon  Hydrogen  Generator  (see  Manual,  p.  175,  Fig. 

47,  a,  6,  d,  ej) 7  00 

26.  Ten-gaLon  Hydrogen  Generator,  for  gasometer  (boxing 

included,  as  usual) 9  00 

27.  Self-condensing  Oxygen  Gas  Cylinder,  with  gauge  and 

wrench  (see  Manual,  p.  170) 45  00 

28.  Self-condensing  Hydrogen  Gas  Cylinder,  with  gauge  and 

wrench 60  00 

29.  Pair  of  Self-condensing  Cylinders,  same  as  Nos.  27,  28 100  00 

30.  Rubber  Tubing,  per  foot 25 


CHEMICALS,  CHEMICAL  APPARATUS,  ETC1. 

81.  Chlorate  of  Potash  and  Slack  Oxide  of  Manganese,  best 
quality,  by  the  pound  or  hundred-weight,  at  the  lowest 
market  rates.  Packages  with  a  pound  of  the  former  and 
four  ounces  of  the  latter  in  each  (see  Manual,  p.  172),  per 
dozen 86  00 

32.  Zinc,  granulated,  per  pound 20 

Scrap  zinc,  twisted  so  as  not  to  mat,  Is  better,  and  usu- 
ally cheaper.  Iron  filings  or  nails  will  answer. 

33.  Sulphuric  Acid,  by  the  carboy  of  160  pounds,  boxed  for 

shipment  as  freight  (express  companies  refuse  to  take  it)     7  60 

Smaller  quantities  can  be  sent  the  same  way,  but  gener- 
ally it  is  better  to  get  It  of  a  near  druggist.  It  must  not 
be  packed  with  other  goods. 

?4.    Four  2%-inch  Lime  Wheels,  in  patent  canister 75 

As  soon  as  an  exhibition  is  over,  the  lime  can  be  placed 
in  this  portable  canister,  closing  air-tight,  and  so  will  last 
for  several  occasions. 

35.  A  Sealed  Canister  of  a  dozen  2^-inch  Lime  Wheels 1  75 

36.  Sciopticon  Tank  (see  Manual,  p.  84,  Fig.  26) 100 

37.  Tank,  with  clamps  (see  Manual,  p.  84,  Fig.  26) 3  00 

38.  Two  Pipettes,  with  rubber  bulb  and  a  dozen  glass  tubes 1  50 

39.  Plate  Glass,  4^  by  3%,  to  show  crystallization,  etc.,  per  doz.     1  50 

40.  Glass,  quarter  plate,  B.  P.O.,  per  dozen 30 

41.  Glass,  coated  for  tracing,  per  dozen 60 

Scratching  clear  lines  upon  a  coating  of  dense  blue  gives 
the  best  effect,  and  is  the  easiest  to  do.  Drawing  with 
India  ink  or  carmine  upon  a  clear  varnished  surface  is 
most  in  use  (see  Manual,  p.  135). 

Chemicals  for  tank  experiments,  colors,  mats,  etc.,  for 
slides,  and  all  lantern  appliances  not  herein  enumerated, 
will  be  furnished  at  the  lowest  market  prices. 

SEPARATE      PARTS     OF    APPARATUS    OCCASIONALLY 
CALLED  FOR  TO  SUPPLY  DEFICIENCIES. 

42.  Sciopticon  Objective,  corrected  for  use  on  the  Sciopticon  (see 

Manual,  p.  30,  Fig.  15,  a,  6,  c,  d) 10  00 

43.  Objective,  for  long  distances,  10-inch  back  focus  (see  Manual, 

p.  164) 12  00 

44.  Sciopticon  Condenser,  mounted,  and  fitting  any  of  the  new 

instruments 12  00 

45.  Piano-Convex  Condensing  Lens,  diameter  Scinches 3  00 

4  inches - 4  00 

4^  inches ~ 4  50 

4^  inches «  6  00 

5  inches 7  50 


46.  Tinters,  with  two  colored  films  aiil  opaque  curtain  .........  $3  00 

47.  Flame  Chamber  Glass  and  Frame,  for  front  .................  60 

For  back  ........................................................  25 

48.  Reflector,  of  focus  and  shape  to  fit  any  Scioptlcon  ......  .....  200 

49.  Scioptlcon  Lamp  (incomplete  in  itself;  see  Manual,  p.  80, 

Fig.  15,  4)  ........................................................  250 

50.  Scioptlcon  Lamp  Wicks,  per  dozen  ............................  25 

51.  Brass  Stage  and  Spring,  with  stop  ...........................  75 

52.  Slide  Carrier,  a  part  of  the  automatic  cut-off  patent,  but 

can  be  used  in  any  Scioptioon  (see  Manual,  p.  169,  Fig.  44)  1  50 

53.  Ordinary  Slide  Carrier  ........................................  20 

54.  Chimney  Cap  and  Extension  .................................  100 

55.  AlcoJiol  Jet  No.  1  ....................................................  100 

56.  Jet  No.2  ..........................................................  1  50 

57.  Centre  Jet  ..............................  .........................  50 

58.  M  ixed  Jet  No.  3  ..................................................  2  00 

59.  Flat  Jet  Broach  ............................  .  ....................  20 

60.  Jet  Wrench  .......................................................  50 

61.  Clamp  for  Base  ..................................................  1  50 

62.  Lime  Holder  .....................................................  50 

63.  Base  for  Lime  Solder  ..........................................  50 

64.  Stop-cocks  for  Jet,  each  .........................................  1  25 

65.  Lead  Washers,  per  dozen  .......................................  25 

66.  Large  Gas  Bag  Stop-cock  ......................................  2  00 

The  price  of  gas  bags  without  stop-cock  is  less  by  two 
dollars. 

67.  Alcohol  Fountai  n,  with  stop-cock  an  d  feed  er  ................  250 

63.    Connection  for  tubing  ...........................................  15 

69.  T  Connection  for  running  two  tubes  into  one  ................  50 

LANTERN  ATTACHMENTS. 

70.  Sciopticon  Gas  Microscope  Attachment,  Zentmayer's  pat- 

tern (see  Manual,  p.  191)  .......................................  30  00 

71.  New  Pattern.  Objective,  1%  inch  ................................  3000 

25  00 


JLinch  ................................  25  00 

72.  Microscopic  Objects,  from  75  cents  to  ..........................  1  50 

73.  Salman's  Siphon  Slide,  with  cover,  rubber  tubes  and  bot- 

tles (see  Manual,  p.  190)  .......................................  5  00 

74.  Solman's  Life  and  Current  Slide  ............................  150 


75.  Sciopticon  Kaleidoscope,  with  Chromatrope $20  00 

This  is  an  improved  arrangement ;  the  position  of  light 
is  not  changed;  it  screws  into  the  flange  in  place  of  the 
Objective. 

76.  Sciopticon  Megascope,  for  either  oil  or  lime  light;   easily 

attached  in  most  advantageous  position  (see   Manual, 

p.  193) 5  00 

77.  Polar iscope  (see  Manual,  p.  199,  Fig.  57) 6000 

COMBINATIONS  AND   ESTIMATES. 

78.  Oxygen  Bag,  etc.,  No.  17 ;  Retort,  etc.,  No.  20 ;  a  dozen  oxy- 

gen charges,  No.  31;   four  2%-inch  lime  wheels,  in  patent 
canister,  No.  34 ;  a  dozen  feet  of  tubing,  No.  30 3000 

79.  Gas  Sciopticon  ^o.  11,  with  bag,  etc.,  No.  78 7700 

This  is  complete  for  concentric  jet  where  house  gas  is 
within  reach. 
With  Alcohol  Fountain,  etc 8000 

80.  Same  as  No.  79,  with  hydrogen  bag  No.  IS 9500 

This  is  complete  for  either  concentric  or  mixed  jet, 
where  the  hydrogen  bag  can  be  filled  from  the  house  gas 
burner.  Some  timid  exhibitors  use  the  concentric  jet  in 
connection  with  a  slight  pressure  on  the  hydrogen  bag, 
instead  of  the  mixed  jet  with  equal  pressure  on  both 
bags ;  but  the  mixed  jet  is  unquestionably" enough  better, 
and  more  saving  of  gas,  to  give  it  the  preference,  when 
means  for  its  production  are  at  hand. 

81.  Same  as  No.  80,  but  with  the  hydrogen  generator  No.  25  and 

ten  pounds  of  scrap  or  granulated  zinc 100  00 

82.  Gas  Sciopticon  No.  10,  with  condensing  gas  cylinder  for 

oxygen  No.  27;  a  dozen  oxygen  charges;  4  limes;  12  feet 

of  tubing 100  00 

This  No.  82  effects  the  same  as  No.  79  (see  Manual,  p.  181, 
Fig.  49) 

83.  Gas  Sciopticon  No.  11,  with  ^  pair  of  self-condensing  cylin- 

ders No.  29,  a  dozen  oxygen  charges,  four  limes,  six  feet  of 

tubing  and  ten  pounds  of  scrap  zinc 150  00 

Either  81  or  83  is  complete  for  the  concentric  or  the 
mixed  jet.  The  cylinders,  if  in  perfect  condition,  are  evi- 
dently the  most  convenient,  and  persons  accustomed  to 
their  use  would  not  willingly  do  without  them;  ques- 
tions, however,  as  to  their  continuous  reliability  and 
enduring  safety  are  still  in  dispute  among  experts,  and  in 
common  with  cylinders  charged  by  the  forcing  pump, 
there  is  still  some  difficulty  in  using  them  in  connection 
with  dissolving  views. 


84.  The  Oil  Sciopticon  No.  1,  and  the  Triple  Jet  No.  9 $60  00 

It  will  be  seen  that  it  costs  but  $62  to  get  both  the  Oil 
and  the  Gas  Sciopticon  and  clamp,  with  one  set  of  lenses; 
or  §70,  if  alcohol  fountain  and  cut-off  are  all  included ;  so, 
in  most  cases,  where  both  oil  and  the  lime  lights  are  de- 
sired, both  lantern  bodies  will  also  be  preferred,  as  shown 
on  page  xiii  of  the  preceding  Introduction 

85.  For  Dissolving  Views:  two  Sciopticons  No.  12  (the  cutr-off 

not  needed),  dissolving  cock  No.  15 9600 

With  alcohol  fountain  and  dissolving  cock  No.  16 96  00 

With  oxygen  accessories  No.  78 12600 

With  hydrogen  bag  No.  18 14400 

With  hydrogen  generator  No.  25 150  00 

With  double  case  and  legs  No.  61 160  00 

Accessories  may  be  varied  to  suit  circumstances,  as  in 
the  case  of  a  single  instrument. 


86.  As  an  element  of  a  hundred  dollar  outfit  an  Oil  Sciopticon 

No.  1,  Case  No.  2,  and  one  best  Chromatrope,  or  its  equiva- 
lent   5000 

87.  Same  as  No.  86,  with  30  French  slides  of  European.  Scenery, 

30  American  Scenery,  30  Woodbury  slides,  and  30  statuary 

and  plain  art  slides 10000 

88.  Same  as  No.  86,  with  200  scientific  Sciopticon  slides 100  00 

89.  Same  as  No.  86,  with  100  slides  of  Scripture  illustrations 75  00 

90.  In  wood  mounted  slides,  the  same  departure  from  the  old 

three-inch  size  is  carried  into  statuary  and  the  wood- 
mounted  scientific  slides.  The  increased  cost  prevents 
any  general  reduction,  but  as  an  element  of  an  outfit 
limited  to  the  following,  for  which  there  will  be  made 
special  preparation :  Six  large  colored  slides,  viz.,  Wash- 
ington and  Lafayette  at  Mt.  Vernon,  The  Magic  Grotto, 
The  Little  Foxes,  Sunday  in  the  Backwoods,  and  two 
effect  slides,  say  Washington's  Dream  and  The  Believer's 
Vision,  and  a  dozen  statuary,  blacked  out  and  mounted 
in  wooden  frames,  viz.:— Night,  Morning,  Europe,  Asia, 
Africa,  America,  Tap  at  the  Window,  Faith  at  the  Cross, 
Groups,  etc 25  00 

91.  Masonic  Outfit.    Oil  Sciopticon  No.  1,  Case  No.  2,  patent 

slide  carrier  No.  52,  and  over  100  symbols  in  the  degrees  of 
Entered  Apprentice,  Fellow  Craft,  and  Master  Mason,  ar- 
ranged in  accordance  with  the  American  system  of  lec- 
tures, on  30  plain  slides,  very  distinct  and  clear 55  00 


REDUCTION   IN    PRICES. 


Framed  Colored  Sealed  Slides  (see  Catalogue,  Class  i  to 
X  inclusive),  in  New  Departure  Style  (3-1  inches  in  the  clear), 

are  reduced  from  82. 5<>  re  $1,30  each.     The  ordinary  3-inch 

* — • 
Slides  are  reduced  to  $1,00  each. 

Framed  Statuary,  etc.,  are  reduced  from  81.50  to  81. <M) 
each.     These  include — 

1.   Blacked-out  Statuary  'sec  Class  xiv). 

'1.  Scientific  Colored  .-•  in   inclu- 

sive). 

3.  Novelties,   such   as    Liglitni  work,   some    do/en 

Cloud  Effects,  Wat.  etc..  and  such  as  Mercury.  \ 

Angel  of  Peace,  Night.  Mori:  >-aeh  in  beautiful  clouds, 

which  can  be  v  and  varie- 

gated by  cut-off,  tin 

The  most  of  the  above  can  be  furnished  smaller,  and  wifhout 
frames,  at  from  50  to  75  cents  each. 

Chromotropes,  improved  and  enlarged,  are  reduced  in  price. 
Those  with   tli-  \s  Good   Night,  Washin 

Hive,  Aquarium,  Fountain,  etc.,  to  85.00  each.     Those  with 
two  gi  'i  .00  each. 

Unframed  Colored  Slides  are  reduced  to  75  tents  each. 

Scientific  Sciopticon  Slides,  and  Scripture  Antiquities, 
etc.,  are  30  cents  each,  or  $25.00  per  hundred. 

American  Views  XL),  are  50  cents  each. 

Foreign  Plain  Slides  (see  Glass  XLI;.  arc  *M  h. 

Further  particulars  furnished  on  application. 

L.  J.  IWIARCY, 

1340  Chestnut  Street,  Philadelphia. 


33  The  Bird's  Funeral. 

34  Mud  Pies. 

35  Stream  of  Life. 

36  Young  Companions. 

37  Little  Foxes. 

38  The  Croquet. 

39  Blue  Bird. 

40  Peasants  Crossing  the  Stream. 

41  The  Bath. 

42  Madonna  in  the  Chair. 

43  Washington  Crossing  the  Dela- 

ware. 

44  Washington  at  Trenton. 

45  Washington  and  Lafayette  at 

Mount  Vernon. 

46  The  Spirit  of  '76. 

47  Old  Abe  ( Wis.  War  Eagle). 

48  The  Blind  Piper. 

49  The  Mother's  Blessing. 

50  Both  Puzzled. 

61  Burns  and  his  Highland  Mary. 

52  Rock  of  Ages. 

53  Open  Bible,  Ps.  xix. 

54  Happy  as  a  King. 

55  Hunting  the  Walrus. 

56  Icebergs— Life  Boat  Cove. 

57  Piper    and    a    Pair    of    Nut- 

crackers. 

58  Landing  of  Columbus. 

59  Apartment    in   a   Mandarin's 

House. 

60  Lobster  Sauce. 

61  A  Pretty  Kettle  of  Fish. 

62  On  the  Lake. 

63  On  the  Glacier. 

64  Little  Mischief. 

65  Toilet. 

66  Chimney  Sweep. 

67  Washing  Day. 

68  Fondly  Gazing. 

69  Empty  Cradle. 

70  Mater  Dolorosa. 

71  Ecce  Homo. 

72  Jerusalem  in  her  Grandeur. 

73  Jerusalem  in  her  Fall— Selou's. 

74  Cornelia  and  her  Jewels. 

75  Roman  Ladies'  Liberality. 

76  Tattle  at  Watering  Place. 

77  Sheep  in  Pasture. 

78  War. 

79  Peace. 

80  The  Onconvaniance  of  Single 

Life. 

81  The  Raal  Convaniance  of  Mar- 

ried Life. 

82  Feeding  the  Ducks. 

83  The  Good  Friends. 

84  To  the  Rescue. 

85  feaved. 


f6  The  Challenge. 

87  The  Sanctuary. 

88  The  Mother's  Joy. 

89  The  Widow's  Comfort. 

SO  View  on  the  St.  Lawrence. 

91  New  England  in  Winter. 

92  Highlands  on  the  Hudson. 

1«  Settler's  Hut  on  the  Frontier. 
94  Saw  Mill,  Lake  Winnipissogee 
9")  Mirror,  Lake  Yosemite. 
{Hi  Windsor  Castle. 
!>7  Balmoral  Castle. 

98  Burns'  Mausoleum. 

99  Innisfallen.LakeofKlllarney. 

100  Lower  and  Toic  Lake     do 

101  Jtallyhincu  Lake. 

102  Clew  Bay,  Ireland. 

103  Glengariff  Inn,  Ireland. 
Hi4  Holy  Cross  Abbey,  Ireland. 

105  Cove  Harbor,  Queenstown. 

106  City  of  Venice. 

107  Cathedral  and  Leaning  Tower 

Pisa. 

108  Amain.  Port  of  Salerno. 

109  Bay  of   Naples— Eruption    of 

Vesuvius. 

110  Bingen,  on  the  Rhine. 

111  City  of  Cologne,  on  the  Rhine. 

112  St.  Goar,  on  the  Rhine. 

113  Castle  Reinstein. 

114  Mill  in  the  Alps— Winter. 

115  LakeComo. 

116  Lake  Gmunden. 

117  New  Palace  of  the  Sultan. 

118  Court  of  St.  Sophia. 

119  Entrance  to  the  Black  Sea. 

121)  Seven  Star  Mountains,  China. 

121  Yellow  Pagoda  Fort,  China. 

122  Temple  of  Buddha. 

123  Street  in  Canton. 

124  Great  Wall,  China. 

125  Ascent  of  the  Himalayas. 

126  Great    Temple    Baalbec    (In- 

terior). 

127  Church  of  the  Holy  Sepulchre, 

Jerusalem. 

128  Ferry  at  Old  Cairo,  Egypt. 

129  Pyramids  and  Sphynx. 

130  Island  of  Philae. 

131  Hall  of  Columns,  Karnak. 

EFFECT  SLIDES  FOR  ONE  LANTERN. 

132  Washinston's  Dream. 

133  Highlander's  Dream. 

134  American  Soldier's  Dream. 

135  Mother's  Dream. 

136  Wife's  Prayer. 

137  Dream  of  Hope. 
148  Believer's  Vision. 

139  An  gel  of  Peace. 

140  Good    Ni'^ht,    in    Wreath    of 

Flowers. 


(For  effects  for  two  lanterns,  see  Dissolving  Views,  p.  28.) 


Class  II.     Sacred  History. 


OLD    TESTAMENT.— 

1  Adam  and  Eve  in  Paradise. 

2  The  Temptation. 

3  The  First  Human  Family. 

4  Death  of  Abel. 

5  Cain  Builds  the  First  City. 

6  Three  Tribes  Descend  from  Cain. 

7  The  Deluge. 

8  Noah's  Sacrifice. 

9  Tower  of  Babel. 

10  Abraham  and  the  Three  Angels 

11  Hagar's  Departure. 

12  Hagar  in  the  Wilderness. 

13  Abraham's  Sacrifice. 

14  Abraham  Buries  Sarah. 

15  The  Flight  of  Lot, 

16  Rebekah  at  the  Well. 

17  Eliezar  in  the  House  of  Bethuel. 

18  Arrival  of  Rebekxh. 

19  Isaac  Blesses  Jacob. 

20  Jacob's  Dream. 

21  Jacob  in  the  House  of  Laban. 

22  Joseph  Thrown  into  the  Well. 

23  Joseph  Sold  to  the  Midianites. 

24  Joseph's  Bloody  Coat  Shown. 

25  Joseph     Interprets     Pharaoh's 

Dream. 

26  Joseph  Makes  Himself  Known. 

27  Joseph   Meets   His    Father    in 

Goshen. 

28  Joseph  Presents  his  Father  to 

Pharaoh. 

29  Jacob  Blesses  the  Sons  of  Jo 

seph. 

30  Jacob  Blesses  his  Twelve  Sons. 

31  Moses  Exposed. 

32  Moses  Saved. 

31  The  Burning  Bush. 

34  Pharaoh  Entreats  Moses. 

35  The  Exodus  from  Egypt. 

36  Pharaoh  and  his  Host  Drowned. 

37  The  Song  of  Miriam. 


PER   SLIDE,   $2.50. 

38  Gathering  Manna. 

39  Moses  Smiting  the  Rock. 

40  The  Brazen  Serpent. 

41  The  Golden  Calf. 

42  Moses  Receiving  the  Tablets. 
4-5  Moses  Descends  from  Sinai. 

44  Falling  Walls  of  Jericho. 

45  Jephthah's   Daughter  Meeting 

her  Father. 

46  Sacrifice  of  Jephthah's  Daugh  - 

ter. 

47  Samson  and  Delilah. 

48  Samson  Destroying  the  Temple. 

49  Naomi  and  Ruth. 

50  Boaz  and  Ruth. 

51  Samuel  and  Eli. 

52  Saul  and  the  Witch  of  Endor. 

53  David  Slaying  the  Lion. 

54  David  Slaying  Goliath. 

55  David    Returns    Conqueror   of 

Goliath. 

56  David  in  Saul's  Camp. 

57  I  »avid  Bringing  the  Ark. 
5S  Nathan's  Parable. 

59  Absalom  Entangled  in  the  Oak. 
6u  Solomon'"    Reception    of     the 
Queen  of  Sheba. 

61  Judgment  of  Solomon. 

62  The  Widow's  Oil. 

63  Ascent  of  Elijah. 

64  Children  in  the  Fiery  Furnace. 

65  Captives  in  Babylon. 

(•6  Daniel  in  the  Lion's  Den. 

67  Feast  of  Belshazzar. 

68  Espousal  of  Esther  by  Ahasuc- 

rus. 

69  Esther  Confounds  Haman. 

70  Jonah  Exhorts  the  Ninevites. 

71  Jonah  Cast  into  the  Sea. 

72  Jeremiah  on  the  Ruins  of  Jeru- 

salem. 


NEW    TESTAMENT    ILLUSTRATIONS. 


73  The  Annunciation. 

74  Naming  of  Joun  the  Baptist. 

75  The  Birth  of  Christ. 

76  Birth  of  Christ,  Announced  to 

the  Shepherds. 

77  The  Star  of  Bethlehem. 

78  The  Adoration  of  the  Magi. 
70  Presentation  in  the  Temp. e. 

80  Flight  into  Egypt. 

81  Slaughter  of  the  Innocents. 

82  Christ  Disputing  with  th-j  Doc- 

tors. 

83  John  Preaching  in  the  Wilder- 

ness. 

84  Baptism  of  Christ. 

85  Calling  of  Matthew. 

86  The  Wedding  at  Cana. 

87  Christ  and  tne  Samaritan  Wo- 

man. 


88  Christ  Preaching  on  the  Sea  of 

Galilee. 

89  Christ  Healing  the  Sick. 

9D  The  sermon  oil  the  Mount. 

91  Chiist  Stilting  thn  Sronn. 

92  Resurrection  of  the  Daughter  of 

Jairus. 

93  Christ  Walking  on  t'ie  Water. 

94  The  TwafigurHtioi'.. 

95  The  Good  Samaritan. 

96  The  P«r,.b  e  of  i  ue  Lost  Sheep 

97  Parah  e   of    thi3    Rich    Youug 

Man. 
93  Mi  rat- 1  e    of   the    Loaves    and 

Fishes. 

99  Lilies  of  the  Field. 
10)  Christ  Healeth  the  Blind. 

101  The  Ten  Virgins. 

102  The  Door  wad  Shut. 


10 


103  The  Unmerciful  Servant. 
101  The  Prodigal  !-on. 

105  The  Prodigal  Son-Dubufe. 

106  As  a  Swineherd. 

107  His  Return. 

108  Laborers  in  the  Vineyard. 

109  The  Wicked  Husbandmen. 

110  "Neither  do  I  Condemn  Thee." 

111  Lazarus  at  the  Gate. 

112  Pharisee  and  Publican. 

113  Christ  Blessing  Little  Children. 
Ill  The  Sick  of  the  Pa'sy  Cured. 

115  Jesus   in  the  House  of  Mary 

and  Martha. 

116  Resurrection  of  Lazarus. 

117  Christ  Entering  Jerusalem. 

118  Mary  Anointing  Jesus'  Feet. 

119  Christ  Clearing  the  Temple. 

120  The  Tribute  Money. 

121  The  Poor  Widow's  Two  Mites. 

122  Predicting  the  Destruction  of 

Jerusalem. 

123  The  Last  Supper. 


121  Washing  the  Disciples'  Feet. 

125  Judas'  Kiss. 

126  Jesus  in  the  Garden  of  Geth- 

semane. 

127  Jesus  Before  Pilate. 

128  Peter's  Denial. 

129  Christ  Crowned  with  Thorns. 

130  Christ  Rejected. 

131  Christ  Bearing  His  Cross. 

132  The  Crucifixion. 

133  De=cent  from  the  Cross. 

134  Burial  of  Christ. 

135  The  Three  Marys  at  the  Sepul- 

chre. 

136  Easter    Morning— Christ     Ap- 

pears to  M::r.v. 

137  Ch .  is  t  and  the  Disciples  at  Em- 

maus. 

138  Doubting  Thomas. 

139  Ascension. 

1 10  The  Pentecost. 
141  St.  John's  Vision  of  the  Celes- 
tial Jerusalem. 


LIFE  AND  TRAVELS  OP  ST.  PAUL. 


142  Martrrdom  of  Stephen. 

143  Conversion  of  Saul. 
Hi  Paul  at  Athens. 

115  Paul  at  Ephesus. 

116  Paul  at  Malta. 

147  Tarsus,  the  Birthplace  of  Paul. 

148  River  Cydnus. 

149  Jerusalem. 

150  Damascus. 

151  Nablous. 

152  Antioch. 

153  Cyprus. 

154  Antioch  in  Pisidia. 

155  Alexandria  Troas. 

156  Philippi. 


157  Thessalonica. 

158  Athens. 

J59  Pirseus  Athens. 
1GO  Corinth. 
161  Ephesus. 
1(52  Miletus. 
101  Rhodes. 
104  Ptolemais. 

165  Csesare  a. 

166  Syracuse. 

167  Straits  of  Messina. 

168  Puteoli. 

169  Rome. 

170  Map  of  Travels. 


Class  III.     Holy  Land  and  Egypt. 

PER    SLIDE,    $2.50. 


1  Jerusalem  from  the  Mount  of 

Olives. 

2  Enclosure  of  the  Temple  Area. 

3  Mosque  of  Omar. 

4  Mouut  Zion,  from  Hill  of  Evil 

Council. 

5  Mount  of  Olives,  from  the  Wall. 

6  Tower  of  Hippicus. 

7  Church  of  the  Holy  Sepulchre. 

8  Jews'  Place  of  Wailing. 

9  Arch  in  Via  Dolorosa. 

10  The  Golden  Gate. 

11  Garden  of  Gethsemane. 

12  Bethlehem. 

13  Etham,  near  Bethlehem. 

14  Fields  of  Bethany. 

15  Hebron. 

16  Herein  at  Hebron. 

17  Ancient   Masonry  near    Heb 

ron. 


18  Pool  at  Hebron. 
1!)  Po,  1  at  Siloam. 
2-)  .Pool  ofPIezekiah. 

21  Solomon's  Pool,  near  Bethle- 

hem. 

22  We  I  and  Remains  of  Pool  at 

Bethel. 

23  Well  near  Emmnus. 
•Jl  Well  of  the  Virgin. 

25  Lake  <  f  Tiberias,  from.  Castle 

Siphet. 

28  Baths  and  City  of  Tiberias. 
'27  Nazareth  toward  Esciraelon. 
2S  Vale  of  Nazareth. 
20  Well  of  Na/areih. 
3D  Ramleh,  with  the  Hills  of  Ju- 

dea. 

31  Sidon  and  Mount  Lebanon. 
3J  Hills  of  Samaria. 


11 


33  Mount  Hermon. 

34  Mount  Carinel. 

35  Mount  Tabor. 

36  Plain  Er  Raheh,  Mt.  Sinai. 

37  Mount  Hor. 

38  Mount  Nebo. 

39  The  Rock  of  Moses. 

40  Mount  Ararat. 

41  Sarepta. 

42  Rachel's  Tomb. 

43  Tombs  in  the  Valley  of  Jehosha- 

phat. 

44  Tomb  of  the  Virgin. 

45  Halt  above  the  North  End  of  the 

Dead  Sea. 

46  Damascus. 

47  Scene  near  Rarnleb. 

48  Arab  of  the  Desert. 

49  Arab  Camp. 

50  Interior  of  a  Caravansera. 

51  Range  of  the  Tombs,  Petra. 

52  Caesarea. 

53  Fords  of  the  Jordan. 

54  Tarsus. 

55  Falls  of  the  Cydnus. 

56  Map  of  Palestine. 

57  Theatre  at  Ephesus. 


58  Ruins  of  Persepolis. 

59  Ruins  of  Babylon. 

60  Ruins  of  Balbec. 


61  Ferry  at  Old  Cairo. 

62  Street  in  Cairo. 

63  The  Shadoof. 

64  Nile  Boat. 

65  Pyramids  and  Sphinx. 

66  The  Simoon. 

67  Approach  to  Karnac. 

68  Karnac. 

69  Columns  of  Grand  Hall,  Karnac. 

70  Colossi  of  the  Plains. 

71  Obelisk  and  Propylon  Luxor. 

72  Colossal  Statue  of  Rameses  the 

Great,  at  the  Memnonum. 

73  Approach  to  Philoe. 

74  View  from  Philoe. 

75  Sculptured  Gateway,  Philoe. 

76  Pharaoh's  Bed,  Philoe. 

77  Portico  of  Tern.  Kalabshe,  Nubia. 

78  Tombs  of  Memlook  Kings,  Cairo. 

79  Pylon  of  the  Temple  of  Edfou. 

80  Monument  of  Heliopolis. 


Class  IV— Ancient  Greece  and  Rome. 

PER   SLIDE,   $2.50. 
ANCIENT    GREECE.  ANCIENT    ROME. 


1  Plan  of  Athens. 

2  Ancient  Athens  restored. 

3  Ruins  of  Athens. 

4  The  Pyraeus. 

5  Mars  Hill. 

6  The  Philosopher's  Garden. 

7  Ruins  of  the  Parthenon. 

8  The  Parthenon  restored. 

9  Temple  of  Jupiter,  at  Olympia. 

10  Oracle  at  Delphi. 

11  Sacrifice  to  Neptune. 

12  Sacrifice  to  Mars. 

13  Statue  of  Pallas  Athenae. 

14  Olympian  Games. 

15  Grecian  Warriors. 

16  Grecian  Chariot. 

17  Grecian  Dwelling  (interior). 

18  Grecian    Ceremony  before    Mar- 

riage. 

19  The  Areopagus. 

20  The  Assembly  of  the  Gods. 


21  Map  of  Rome. 

22  Ruins  of  Rome. 

23  Trajan's  Arch. 

24  Roman  Cavalry. 

25  War  Elephant. 

26  War  Engines. 

27  Victorious  General  thanking  his 

Army. 

28  Prisoners  passing  under  the  Yoko. 

29  Roman  Triumph. 

30  Captives  in  the  Forum. 

3 1  Gladiators  at  the  Theatre. 

32  Gladiators  at  Funerals. 

33  Sea  Fight. 

34  Roman  Feast. 

35  The  Coliseum. 

36  Section  of  Coliseum. 

37  Wild  Beasts  and  Victims  in  the 

Coliseum. 

38  Sacrifice  in  Rome. 

39  Temple  of  the  Sun  in  Rome. 

40  Funeral  of  an  Emperor. 


12 


Class  V— Complete   Illustrations 

Bible. 


to    the  Text  of  the  Holy 


PER    SLIDE,    $1.50. 


BIBLICAL  ANTIQUITIES. 


1  Ancient  Cymbals,  <tc. 

2  Ancient  Egyptian  Armlets. 

3  Ancient  Egyptian  Doors. 

4  Ancient  Egyptian  Scales. 

5  Ancient  Egyptian  Seats. 

6  Body  of  Archers. 

7  Bowing  before  a  Public  Officer. 

8  Brickmaking. 

9  Carrying  Corn. 

10  Chairs. 

11  Couches. 

12  Culinary  Vessels. 

13  Dandour. 

14  Denderah. 

15  Drawers  and  Girdle. 

16  Earrings  of  Men. 

17  Edfou. 

18  Egyptian  Amulets. 

19  Egyptian  Entertainment. 

20  Egyptian  Instrument. 

21  Egyptian  King  on  his  Throne. 

22  Egyptian  Lady. 

23  Egyptian  Lamps. 

24  EgyptianVessels  of  Elegant  Form 

25  Egyptian  with  a  Tray  of  Meats. 

26  Ephod  and  Censer. 

27  Ephod  and  Girdle. 

28  Ethiopian  Car  drawn  by  Oxen. 

29  Fauteuils. 

30  Harp. 

31  Luxor. 

32  Man-servant. 

3:}  Metal  Door-pins. 

34  Mitres. 

35  Mummy. 

36  Mummy  Case  and  Marble  Sar- 

eopbngi 

37  Overseer  of  Cattle. 

38  Priestesses. 

39  Ring  Money. 

40  Rock-cut  Temple,  Ipsambul. 

41  ScarabaM— Back  and  Side  Views. 

42  Scnrabsei — Engraved   under-sur- 

faces. 


43  Scribe. 

44  Ship. 

45  Side  View  of  Memnon. 

46  Signet  Rings  of  Ancient  Egypt. 

47  Sistrums. 

48  Sphinx  and  Pyramids. 

49  Statue  of  Egyptian  Lady. 

50  Stewards. 

51  Stringed  Instruments. 

52  Tambourine  Players. 

53  Theban  Statue. 

54  Thrones. 

55  Water  Bearers. 

56  Windows. 

57  Wine-press. 

58  Worker  in  Iron. 


59  Altar  of  Burnt  Offering. 

60  Altar  of  Incense. 

61  Booths. 

62  Burnt  Offering. 

63  Costume  of  High  Priest. 

64  Costume  of  a  Priest. 
05  Meat  Offering. 

66  Ox- horn  Blower. 

67  Peace  Offering. 

68  Priests  Sounding  an  Alarm. 

69  Setting  up  the  Tabernacle. 

70  Sin  Offering. 

71  Solomon's  Throne. 

72  Supposed  Form  of  the  Laver. 

73  Table  of  Shew-Bread. 

74  The  Golden  Candlestick. 

75  The  Princes'  Offering. 

76  Trespass  Offering  of  the  Poor. 

77  Alabaster  Boxes. 

78  Alexander  the  Great. 

79  Ancient  Battering  Ram. 

80  Ancient  Shadoof. 

81  A  Phoenician  Sarcophagus. 

82  Ark  borne  by  Priests. 

83  Balista   prepared    for    the    Dis- 

charge of  a  Stone. 

84  Bas-relief  from  the  Arch  of  Titus. 

85  Captive  Jews. 


13 


86  Catapulta  prepared  for  the  Dis- 

charge of  an  Arrow. 

87  Censers. 

88  Chamber  on  the  Wall. 

89  Coin  of  Agrippa  (Copper). 

90  Coin  of  Archelaus  (Copper). 

91  Coin  of  Augustus. 

92  Coin  of  Claudius. 

93  Coin  of  Nero. 

94  Coin  of  Tiberius. 

95  Coin  of  Titus. 

96  Cuirass. 

97  Daggers. 

98  Demi-Shekel  (Copper). 

99  Double  Flutes,  Greek. 

100  Eastern  Tables. 

101  Eastern  Writing  Material. 

102  Escape  from  a  Window. 

103  Garden  Bedstead. 

104  Garden  House. 

105  Gods  of  Wood. 

106  Group  of  Altars. 

107  Helmets. 

108  Insignia  of  Office. 

109  Interior  of  the   Portico    of  the 

Great  Temple  of  Denderah. 

110  Judaea  Capta. 

111  King  on  Throne,  with  Attend- 

ants. 

112  Metal  Mirrors. 

113  Nimrod. 

114  Nisroch. 

115  Palm  Bedstead. 

116  Persian  Armlets. 

117  Persian  Torch  and  Lantern. 

118  Pillows  of  Stone  and  Wood. 

119  Quarter-Shekel  (Copper). 

120  Roman  Judgment-Seat. 

12 1  Roman  Lantern  and  Flambeaux. 

122  Sandals. 

123  Shekel  of  Copper. 

124  Shekel  of  Silver. 

125  Ship,  from  a  Painting  at  Pom- 

peii. 

126  Shrine  with  Idol. 

127  Spoons. 

128  Statue  of  Cyrus. 

129  Sun  Dial. 

130  Teraphim. 

131  The  Ckumarah. 

132  The  Great  King. 

133  Tower  in  the  Desert. 

134  Winged  Human-headed  Bull. 

135  Writing  Materials. 


MANNERS  AND  CUSTOMS. 

136  A  Musical  Procession. 

137  An  Oriental  Migration. 

138  Application  to  a  Santon. 

139  Arab  Encampment. 

140  Arab  Female. 

141  Arab  Horde  coming  to  a  Halt. 

142  Bargaining  for  a  Slave. 

143  Caravansera. 

144  City  Gate. 

145  Cup  Bearers. 

146  Dance  with  Timbrels. 

147  Drawing  Water  from  the  Nile. 

148  Eastern  Forms  of  Obeisance. 

149  Eastern  House. 

150  Eastern  Housetops. 

151  Eastern  Potter. 

152  Eastern  Prince. 

153  Eastern  Princess. 

154  Egyptian  Foot  Soldiers. 

155  Egyptian  Soldiers. 

156  Egyptian  War  Chariots. 

157  Egyptian  Worship. 

158  Feast  of  Passover. 

159  Feast  of  Tabernacles. 

160  Female  Mourners  at  Tomb. 

161  Giving   Water    from    Leathern 

Bottles. 

162  Grecian  Warrior  in  Armor. 

163  Greek  Worshipping  witb  Head 

Uncovered. 

164  Hand-mill. 

165  Interior    of   the    Tomb   of  the 

Kings  at  Jerusalem. 

166  Jewish  Physician. 

167  Lady  with  Face-veil. 

168  Marriage  Procession  of  a  Bride. 

169  Marriage  Procession  of  a  Bride. 

groom. 
]  70  Market  at  Gate. 

171  Monumental  Pillars. 

172  Mourner  at  Tomb. 

173  Musical  Entertainment. 

174  Oriental  Cart. 

175  Oriental  Shepherds. 

176  Ornaments  of  Egyptian  Females. 

177  Painted  Eyes. 

1 78  Potter  at  Work. 

179  Pouring   Wine   from    Leathern 

Bottle. 

180  Praying  with    the   Head    Cov- 

ered. 

181  Raising  Water. 


14 


182  Raising  Water  by  the  Ckutweh. 

183  Reading  the  Law. 

184  Rock-cut  Tomb. 

185  Roman  Centurion. 

186  Roman  Consul. 

187  Roman  Eagle. 

188  Roman  Lictor. 

189  Roman  Soldiers. 

190  Sackcloth. 

191  Saddled  Asses. 

192  Searching  for  Leaven. 

193  Shaving  the  Head. 

194  Sheepfold. 

195  Stones  of  Memorial. 

196  The  Taboot. 

197  Threshing  by  Animals. 

198  Threshing  by  the  Drag. 

199  Threshing  by  the  Sledge. 

200  Throwing  a  Javelin. 

201  Walking  Wrapper. 

202  Warrior  and  Armor-Bearer. 

203  Washing  Hands. 

204  Water  Carriers. 

205  Women  of  Priestly  Families. 

206  Women  on  Camels. 

207  Women  Wearing  the  Tob. 


BIBLICAL  SCENERY. 

208  Absalom's  Tomb. 

209  Aceldama. 

210  Adjeroud. 

211  Alexandria. 

212  Amphitheatre  near  Tiberias. 

213  Anathoth. 

214  Antioch. 

215  Aqueduct  of  Jericho. 

216  Arch  of  Titus,  Rome. 

217  Ascalon. 

218  Ashdod. 

219  Assyrian  Grave  Tower,  Lebanon. 

220  A  View  of  Petra  in  Wady  Mousa. 

221  Baalbec. 

222  Banias. 

223  Bazaar  in  Damascus. 

224  Bazaar  in  Jaffa. 

225  Bethany. 

226  Bethel. 

227  Bethlehem. 

228  Beyrout. 

229  Birs  Nimrod,  Babylon. 

230  Bringing  First-fruits  to  Jerusa- 

lem. 


231  Curmel. 

232  Castle  of  Sion. 

233  Cave  at  Benias. 

234  Caves    in   the   Cliffs   of  Wady 

Mousa,  Mount  Seir. 

235  Cave  under  the  Temple  Hill. 

236  Cedars  of  Lebanon. 

237  Chapel  of  the  Burning  Bush. 

238  Church  of  the  Holy  Sepulchre, 

Jerusalem. 

239  Church  of  the  Nativity. 

240  Church  Ruin  at  El'Bire. 

241  Citadel  on  Site  of  Ft.  Antonio. 

242  Colosse. 

243  Corinth. 

244  Damascus. 

245  Daniel's  Grave  at  Susa. 

246  Egyptian  Monuments. 

247  Egyptian  Temple. 

248  Elath. 

249  Elias's  Grotto  on  Mt.  Carmel. 

250  Emmaus. 

251  Garden  of  Gethsemane. 

252  Gaza. 

253  Gibea. 

254  Gibeon. 

255  Graveyard  in  Sidon. 

256  Grave  of  Joseph  of  Arimathea. 

257  Harvest  in  Palestine. 

258  Hebron,  with  the  Grave  of  Mach- 

pelah. 

259  Hermon,  from  Meromsee. 

260  Interior  of  Coliseum,  Rome. 

261  Interior  of  Convent,  Mar  Saba. 

262  Interior  of  the  Holy  Sepulchre. 

263  Isaiah's  Grave. 

264  Jacob's  Bridge. 

265  Jaffa. 

266  Jaffa  Gate,  Jerusalem. 

267  Jerusalem,  from  Scopus. 

268  Jerusalem  from  the  North. 

269  Jews'  Place  of  Wailing,  Jeru- 

salem. 

270  Jews'  Quarter,  Jerusalem. 

271  Jezreel. 

272  Joseph's  Grave. 

273  Kaipha. 

274  Kirjath-jearim. 

275  Lake  of  Gennesaret. 

276  Laodicea. 

277  Lydda. 

278  Magdala. 

279  Malta. 

280  Mars'  Hill,  Athens. 


"15 


281  Mosque  of  Omar,  Jerusalem. 

282  Mount  Ararat. 

283  Mount  Hor. 

284  Mount  of  Olives  from  Jerusalem. 

285  Mounts  Ebal  and  Gerizim. 

286  Mount  Serbal. 

287  Mount  Tabor. 

288  Nablous,  the  Ancient  Shechem. 

289  Nain. 

290  Nazareth. 

291  Nineveh. 

292  Noah's  Grave  in  Armenia. 

293  Noph. 

294  Old  Jewish  Tower. 

295  On,  or  Heliopolis. 

296  Patmos. 

297  Pergamos. 

298  Pharaoh's  Palace. 

299  Philadelphia. 

300  Philip's  Well. 

301  Pilgrim's  Pool,  Succoth. 

302  Plain  of  Jericho. 

303  Pool  of  Bethesda. 

304  Pool  of  Gihon. 

305  Pool  of  Hezekiah. 

306  Pool  of  Siloam. 

307  Pools  of  Solomon. 

308  Ptolemais. 

309  Rachel's  Grave. 

310  Rama  (Arimathea). 

311  Remains     of    Ancient    Temple 

Bridge. 

312  Rhodes. 

313  River  Jobbok. 

314  Rock  of  Moses. 

315  Rock  Valley  in  the  Vicinity  of 

Petra. 

316  Roman  Bridge,  Lysanias. 

317  Rome. 

318  Ruins  of  Ammon. 

319  Ruins  of  Csesarea  in  Palestine. 

320  Ruins  of  Gadara. 

321  Ruins  of  the  Forum  at  Rome. 

322  Ruins   of  the   Palace  of  Nero, 

Rome. 

323  Ruins  of  Tyre. 

324  Snfed. 

325  Samaria,  Sebaste. 

326  Samaritan  Synagogue. 

327  Sardis. 

328  Sarepta. 

329  Shiloh. 

330  Sidon. 

331  Smyrna. 


332  St.  John's  Hospital,  Acre. 

333  St.  Peter's,  Rome. 

334  Suez. 

335  Summit  of  Mount  Sinai. 

336  Tadmor,  Palmyra. 

337  Tarsus. 

338  Terrace  Cultivation. 

339  The  Coliseum,  Rome. 

340  The  Dead  Sea. 

341  The  Grave  of  David. 

342  The  Holy  Sepulchre. 

343  The  Jordan  leaving  the  Lake  of 

Tiberias. 

344  The  Mamertine  Prison,  Rome. 

345  The  Mujelibe,  Babylon. 

346  The  River  Jordan. 

347  The  Written  Rocks,  Wady  Mo- 

katteb. 

348  Thyatira. 

349  Tiberias. 

350  Tomb  at  Petra. 

351  Tomb  of  Ezra. 

352  Tomb  of  Mordecai. 

353  Tomb  of  the  Kings. 

354  Tower  of  David.  Jerusalem. 

355  Tower  of  St.  Paul  in  Damascus. 

356  Tyre. 

357  Urfah,    supposed     Ur     of    the 

Chaldees. 

358  Valley  and  Convent  of  Sinai. 

359  Valley  of  Gihon. 

360  Valley  of  Jehoshaphat. 

361  Vaults  beneath  Solomon's  Tem- 

ple. 

362  Vestibule    within    the    Golden 

Gate. 

363  Vivia  Dolorosa. 

364  View  in  the  Land  of  Moab. 

365  View  of  a  Portion  of  the  Ruins 

of  Petra. 

366  View  on  the  Euphrates. 

367  View  on  the  Nile. 

368  Watered  Garden. 

369  Well  at  Cana. 

370  Well  of  the  Virgin. 

371  Wells  of  Moses. 

BIBLICAL  NATURAL  HISTORY. 

BEASTS. 

372  Asses 

373  Bat, 

374  Bear. 

375  Beaver. 


16 


376  Camels. 

377  Chameleon. 

378  Common  Dormouse. 

379  Coneys. 

380  Dark-banded  Jerboa. 

381  Dogs. 

382  Dromedary. 

383  Egyptian  Fox. 

384  Elephant. 

385  Four-horned  Earn. 

386  Gazelles. 

387  Greyhound. 

388  Hippopotamus. 

389  Jackals. 

390  Lion. 

391  Lioness  and  Whelps 

392  Onyx. 

393  Sheep. 

394  Syrian  Leopard. 

395  Syrian  Ox,  Camel,  and  Ass. 

396  Wild  Ass. 

397  Wolf. 

BIRDS. 

398  Bee-eater. 

399  Collared  Turtle. 

400  Cormorant. 

401  Hawk. 

402  Heron. 

403  Hoopoe. 

404  Ibis. 

405  Osprey. 

406  Owl. 

407  Partridge. 

408  Pelican. 

409  Quail. 

410  Sea  Swallow. 

411  Shoveller. 

412  Stork. 

413  Swallow  of  Palestine. 

414  Syrian  Dove. 

415  The  Aquiline  Vulture. 

416  The  Crane. 

417  The  Eagle. 

418  The  Flamingo. 

419  The  Katta. 

420  The  Ostrich. 

REPTILES   AND   INSECTS. 

421  Crocodile. 

422  Egyptian  Frogs. 

423  Emperor  Boa. 


424  Hornet. 

425  Lacerta  Gecko. 

426  Lacerta  Sincus. 

427  Lacerta  Stellio. 

428  Locust. 

429  Scorpion. 

TREES    AND   PLANTSo 

430  Almond  Tree. 

431  Apples  of  Sodom. 

432  Balm  of  Gilead. 

433  Bitter  Cucumber. 

434  Black  Fig  Tree. 

435  Box  Tree. 

436  Cactus. 

437  Carob. 

438  Cinnamon. 

439  Cluster  of  Dates. 

440  Cone  of  the  Pine. 

441  Coriander. 

442  Cypress. 

443  Darnel. 

444  Date  Palm. 

445  Dourra. 

446  Ears  of  Wheat. 

447  Figs. 

448  Fig  Leaves. 

449  Fitches. 

450  Frankincense. 

451  Gopher  Tree. 

452  Gourd. 

453  Grapes. 

454  Hennah  Plant 

455  Holy  Bramble. 

456  Husks. 

457  Hyssop. 

458  Jasmine. 

459  Jonah's  Gourd. 

460  Juniper. 

461  Lentiles. 

462  Lily. 

463  Mandrakes, 

464  Mustard. 

465  Nuts. 

466  Oleander. 

467  Olive  Branch  with  Fruit. 

468  Olive  Tree. 

469  Orange  Tree. 

470  Palm  Tree. 

471  Plane  Tree. 

472  Pomegranate. 

473  Prickly  Oak. 

474  Heeds. 


17 


475  Rice. 

476  Rose  of  Jericho. 

477  Rose  of  Sharon. 

478  Sea-goose  Foot. 

479  Sesamum  Oriental. 

480  Stone  Pine  Tree. 

481  Strawberry  Tree. 

482  Sycamore. 

483  Sycamore  Figs. 

484  Tamarisk  Tree. 

485  Terebinth. 

486  Thorn. 

487  White  Mulberry  Tree. 

488  Wormwood. 


MAPS,  Ac. 

489  Canaan    in    possession    of    the 

Twelve  Tribes. 
400  Geography  of  the  Hebrews. 

491  Journeys   of    the     Children    of 

Israel. 

492  Plan  of  Jerusalem,  Ancient. 

493  Plan  of  Jerusalem,  Modern. 

494  Palestine,  to  illustrate  the  New 

Testament. 

495  Travels  of  St.  Paul  in  Asia  and 

Europe. 


Class  VI— Views  of  Interest  in  different  parts  of  the  World. 

PER    SLIDE,   $2.50. 


ENGLAND. 

1  The  New  House  of  Parliament, 

London. 

2  Windsor  Castle. 

3  The  Horse  Guards. 

4  Greenwich  Hospital. 

SCOTLAND. 

5  Interior  of  Holyrood  Chapel. 

6  Melrose  Abbey. 

7  Balmoral  Castle. 

8  Fountain's  Abbey. 

IRELAND. 

9  Askeaton  Abbey. 

10  Adare  " 

11  Furness         " 

12  Muckross       " 

13  Castle  and  Town  of  Glenarm. 

14  The  Custom  House  at  Limerick. 

15  Thodmongate  Bridge,         " 

16  The  Coleraine  Salmon  Lake. 

17  Dunluce  Castle,  County  Antrim. 

18  View  of  Londonderry. 

19  Walker's     Monument,     London- 

derry. 

20  The  Green  Linen  Market,  Belfast. 

21  High  Street, 

22  Black  Rock  Castle,  County  Cork. 

23  Statue  of  George  II,  " 

24  Cove  Harbor, 
?5  Cork  River. 


26  Merchant  Quay,  Cork. 

27  Blarney  Castle. 

28  Trinity  College,  Dublin. 

29  College  Street, 

30  Parliament  Square, 

31  The  King's  Bridge, 

32  St.  Peter's  Chapel, 

33  The  Four  Courts, 

34  The  Bank  of  Ireland. 

35  Court-Yard,  Dublin  Castle. 

36  Castle  Kilkenny,  County  Dublin. 

37  Belfry   and   Church  of  Swords, 

near  Dublin. 

38  Dunmore  Pier,  Waterford. 

39  Lismore  Castle,         " 

40  Inchmore  Castle,  Co.  Kilkenny. 

41  Kilkenny  Castle. 

42  The  Old  Abbey  at  Sligo. 

43  The  Boyne  Water. 

44  The  Upper  Lake  of  Killarney. 

45  The  Lower  Lake  of  Killarney. 

46  Innisfallen. 

47  Queenstown  Harbor. 

48  Carrie  Fergus  Castle. 

49  The  Seven  Churches  of  Clonma- 

noise. 

50  Abbey  of  the  Holy  Cross,  Tip 

perary. 

51  Ballanahinels. 

52  Enchanted  Isles. 

53  Giant's  Causeway. 

54  Cave  at  Giant's  Causeway. 

55  Fingal's  Cave. 


13 


FRANCE. 

56  Cathedral  of  Amiens. 

57  Abbeville  Cathedral. 

58  Castle  of  Ambrose. 

59  Cathedral  of  St.  Bovon. 

60  View  of  Rouen. 

61  Palace  of  Justice,  Rouen. 

62  Cathedral  of  Rouen. 

63  Chapel  of  Vincennes,  Lyons. 

64  Strasbourg  Cathedral. 

65  Market  Place,  Liege. 

66  The  Exchange.  Paris. 

67  Theatre    de     1'Opera    Comique, 

Paris. 

68  Dome  des  Invalides,  Paris. 

69  The  Pantheon,  " 

70  Hotel  de  Ville, 

71  Flower  and  Shrub  Market,  Paris. 

72  The  Elysian  Fields, 

73  Val  de  Grace  Church, 

74  Luxembourg  Palace, 

75  Jardin  Mabille, 

76  Cathedral  of  Notre  Dame, 

77  Place  de  la  Concorde, 

78  ArcdeTrioinphederEtoile, 

79  Chateau  des  Fleurs, 

80  Monument  in  Pere  la  Chaise, 

81  Perigneux  Pyranees, 

SPAIN. 

82  Fountain  at  Madrid. 


83  Town  Hall,  Antwerp. 

84  Town  Hall,  Bruges. 

85  Church  of  St.  Salvador,  Bruges. 

86  Cormayer,  Valley  of  Aosta,  Pied- 

mont. 

ITALY. 

87  Amalfi. 

88  Arch  of  Trajan,  Ancona. 

89  View  of  Florence. 

90  View  of  Naples. 

91  Villa  Royal,  Naples. 

92  Villa  Doria,  Genoa. 

93  View  of  Palermo. 

94  Palazzo  Reali,  Palermo. 

95  Lake  of  Como. 

96  Convent  of  St.  Martino. 

97  Lake  of  Lugano. 

98  Leaning  Tower  of  Pisa. 

99  Grotto  di  Posilipo. 


100  Milan  Cathedral. 

101  St.  Peter's,  Rome. 

102  Interior  of  St.  Peter's,  Rome. 

103  Castle  of  St.  Angelo. 

104  Tivoli  Falls,  near  Rome. 

105  Coliseum. 

106  Arch  of  Trajan. 

107  Porta  Maggiorie. 

108  St.  Mark's,  Venice. 

109  The  Bucentaur. 

110  Bridge  of  Sighs. 

1 1 1  Sciila  and  Charybdis,  Sicily. 

112  Mt.  JEtna. 

113  Port  of  Messina, 

114  Duomo  of  Syracuse. 

115  Valetta,  Island  of  Malta. 

1 1 6  View  of  Prague,  Bohemia. 

117  Ruins  of   Donanstauf,    on    the 

Danube. 


118  The  Sultan's  Palace,  Constanti- 
nople. 
319  Street  Scene,  Constantinople. 


120  View  of  Mayence,  on  the  Rhine. 

121  Fortress    of    Konigstein,    near 

Dresden. 

122  Courtyard  at  Heidelberg. 

123  View  of  Freiburg. 

124  Freiburg  Cathedral. 

125  Interior  of  Wartburg  Chapel. 

126  Baden-Baden. 

127  Lake  of  Ploen. 

128  The  Falls  of  the  RMne. 

129  Church  of  the  Knights  Templar, 

Luz. 

130  Castle  Bronnen. 

SWITZERLAND   AND    TYROL. 

131  Trent,  Tyrol. 

132  View  of  Thun,  Switzerland. 

133  Meirengen. 

134  Mount  St.  Bernard. 

135  Castle  Klam    on    the    Oberinn 

River,  Tyrol. 

136  View  on  the  Alps  in  Steiermark, 

Moonlight  Effect. 

137  Winter  View  on  the  Alps,  near 

Meiringen. 

138  The  Lake  of  the  Four  Cantons, 

Switzerland. 


19 


139  The  Lake  of  Luzerne. 

140  View  in  the  Alps. 

141  View  on  the  River   Gossou,  in 

Tyrol. 

142  View  on  the  River  Inn. 

143  View  near  Inspruk,  Tyrol. 

144  View   in    the   High    Alps— Ty- 

rolese  Gems-Hunters. 

145  The  Fountain  at  Salzburg. 
116  On  the  Konigs-Lake,  Tyrol. 

147  View  near  Berechtsgaden,  Tyrol 

148  View  near    the    Martinswand, 

Tyrol— Winter. 

149  View   near    Salzburg,    Tyrol- 

Summer. 

150  View   of    the    Lake    of    Thun, 

Switzerland. 

151  Entrance  to  Meran,  Tyrol. 

152  View  near  Salzburg,  Tyrol. 
L53  View   of   a   Tyrolese    Cottage, 

near  Salzburg. 

154  View  near  Aussee,  Tyrol. 

155  Interior    View    of    an    Alpine 

Shanty  in  Tyrol. 

156  The  Lake  of  Brienz. 

157  Graubunden  Lake. 

158  Lake  of  Interlaken,  Tyrol. 

159  Interior  of  an  Alpine  Cow-house. 

160  Lake  of  Gmunden,  Tyrol. 

161  Cottage  in  the  Alps,  near  Snow- 

cap  Mountain. 

L62  View  of  the  River  Inn,  Tyrolese 
Alps. 

163  Castle  of  Wolfstein,  in  Tyrol. 

J64  Tyrolese  Village  in  the  Lowlands, 
Winter  Scene. 

165  Tyrolese  Farmers  at  Work,  un- 
loading Hay. 

INDIA. 

1G6  The  Hill  Fortress  of  Gwalioz. 
1G7  The  Residency,  Lucknow. 
108  Mosque  Mounher,  Hindostan. 


A  scries  of  views  from  original  sketches, 
by  Thomas  Allom,  Esq. 

169  Chinese  Cemetery,  near  Pekin. 

170  Temple  of  Buddha,  Canton. 

171  Raree  Sliow  at  Lin-sin-choo. 


172  Feeding  Silk  Worms  and  sorting 

Cocoons. 

173  Apartment     in     a    Mandarin's 

House,  near  Nanking. 

174  Chinese  Cat  Merchants. 

175  Rice  Merchants  at  the  Military 

Station  of  Tong-chang-foo. 

176  Canton      Barge-men       fighting 

Quails. 

177  Destroj-ing  the  Chrysalides  and 

Reeling  the  Cocoons. 

178  Dyeing  and  Winding  Silk. 

179  Playing  at  Shuttlecock  with  the 

Feet. 

180  Chinese  Sacrifice  to  the  Harvest 

Moon. 

181  An  Itinerant  Barber. 

182  Chinese  Opium  Smokers. 

183  Chinese  Marriage  Procession. 

184  A  Devotee  consulting  the  Sticks 

of  Fate. 

185  Great  Temple  at  Honan,  Canton. 

186  A  Mandarin   paying  a  visit   of 

Ceremony. 

187  Scene  from  the  Spectacle  "the 

Sun  and  Moon." 

188  Porcelain  Tower,  Nanking. 

189  Show  Room  of  a  Lantern  Mer- 

chant at  Peking. 

190  Punishment  of  the  Cangue,  at 

Ting-hai. 

191  A  Street  in  Canton. 

192  An   Itinerant   Doctor  at  Tien- 

sing. 

193  Kite  Flying  at  Hae-kwan. 

194  Ceremony  of  meeting  the  Spring. 

195  The  Imperial  Travelling  Palace 

at  Hoo-kew-shan. 

196  The  Bridge  of  Nanking. 

197  West  Gate  of  Ching  Keang  Foo. 

198  A  Tartar  of  the  Chinese  Army. 

199  The  Tiger  Guard. 

200  Policeman  and  Prisoner. 

201  Punishment  of  the  Bastinado. 

202  Punishment  of  the  Bamboo. 

203  Chinese  Punishment  of  the  Rack 

204  Street  Punishment. 

205  Chinese  Barber. 
200  Cleaning  Cotton. 

207  The  Kin-shan  or  Golden  Island. 

208  The  Rev.  Robert  Morrison  and 

his  assistants  in  Ihe  transla- 
tion of  the  Bible  into  Chinese. 


20 


AMERICA. 

209  Cape  Horn. 

210  The  Dome,  Yosemite  Valley,  Cal. 

211  The   Three   Brothers,  Yosemite 

Valley,  California. 

212  Cathedral  Spires,  Yosemite  Val- 

ley, California. 

213  The    Vernal     Falls,     Yosemite 

Valley,  California. 

214  Bridal  Veil  Falls,  Yosemite  Val- 

ley, California. 

215  Grizzly  Giant  Tree. 

216  Pacific    R.    R.    Track    on    the 

Rocky  Mountains. 

217  The  Rio  Grande,  near  Frontera. 

218  Monument    Mountains,    Rocky 

Mountains. 

2J9  The    Organ     Mountains,    New 
Mexico. 

220  Spanish  Peaks,  New  Mexico. 

221  Fort  Laramie. 

222  The  Wind  River  Mountains. 

223  Fort  Smith,  Arkansas. 

224  Pend  d'Oreille  Mission,   Rocky 

Mountains. 

225  The  Garden  of  the  Gods,  Rocky 

Mountains. 

226  Fight  with   a   Grizzly  Bear   in 

the  Rocky  Mountains. 

227  Ball-play  Dance   of  Camanche 

Indians. 

228  Archery  of  Mandan  Indians. 

229  A  Buffalo  Hunt— Surround. 

230  Camanche     Indians     at     Ball- 

playing. 

231  Buffalo  Hunt— The  Chase. 


232  Three  Camanche  Indians— Ball. 

players. 

233  Buffalo  Hunt— the  Near  Chase. 

234  Wild  Horses  at  Play. 

235  Antelope  Shooting — the  Ambus- 

cade. 

236  Encampment     on     the     Plains 

during  a  "Norther.'' 

237  The  War  Dance   of  Camanche 

Indians. 

238  Encampment   surprised   by   In- 

dians. 

239  White  Wolves  attacking  a  Buf- 

falo Bull. 

240  Catching  the  Wild  Horse. 

241  A  Buffalo  Chasing  Back. 

242  The  Capitol,  Washington,  D.  C. 

243  The  White  House,        " 

244  U.  S.  Treasury  Building,  Wash- 

ington, D.  C. 

245  U.  S.  General  Post  Office. 

246  U.  S.  Patent  Office. 

247  General   View    of    Washington 

from  the  Capitol. 

248  Washington's   Tomb,   Mt.   Ver- 

non,  Va. 

249  Washington's    Residence,     Mt. 

Vernon,  Va. 

250  View  up  Broadway  from  Herald 

Office. 

251  West  Point  from  Garrison's. 

252  General  View  of  Niagara  Falls. 

253  William  Penn's  Cottage,  Letitia, 

Court,  Philadelphia,  from  old 
engravings. 

254  Continental  Hotel.  Phila. 

255  Independence  Hall,      " 


Class  VII — Illustrations   of  Important  Events  in  American 
History. 

PER    SLIDE,    $2.50. 


1  Landing  of  Columbus. 

2  Marriage  of  Pocahontas. 

3  Embarkation     of     the     Pilgrim 

Fathers. 

4  English    Puritans    Escaping    to 

America. 

5  Landing  of  the  Pilgrims. 

6  Landing  of  Hendrick  Hudson. 

7  Landing  of  Roger  Williams. 

8  Elliott,  the  first  Indian  Mission- 

ary. 


9  William  Penn  Treating  with  the 
Indians. 

10  Washington  Raising  the  British 

Flag  at  Fort  Duquesne. 

11  Patrick  Henry  in    the  Virginia 

Assembly. 

12  Washington,  Henry,  and  Pendle- 

ton  going  to  the  first  Congress. 

13  First  Prayer  in  Congress. 

14  Surprise  of  Ticonderoga. 

15  Washington  leaving  for  the  Army. 


21 


1C  Washington  taking  Command  of 
the  Army,  1775. 

17  Putnam  leaving  the  Plough. 

18  Battle  of  Bunker  Hill,  1775. 

19  Drafting    of  the    Declaration   of 

Independence. 

20  Declaration  of  Independence. 

21  Surrender  of  Burgoyne. 

22  Putnam's  Escape. 

23  Washington  cross'g  the  Delaware. 

24  Treason  of  Arnold. 

25  Capture  of  Major  Andre. 

26  Surrender  at  Yorktown. 

27  Cora.  Perry  at  the  Battle  of  Lake 

Erie. 

28  General  Taylor  at  Buena  Vista. 

29  General  Scott  at  Contreras. 

30  Bombardment  of  Fort  Sumter. 

31  Soldier's  Dream. 

32  Monitor  driving  the  Merrimac. 

33  Picket  duty  on  the  Potomac. 

34  The  First  Reading  of  the  Emanci- 

pation Proclamation.    By  Car- 
penter. 

35  Gen.  Sherman  entering  Savan'h. 

36  Union  Army  enters  Petersburg. 

37  Assassination  of  Pres't  Lincoln. 

38  Apotheosis  of  Abraham  Lincoln. 

39  American  Eagle. 


PORTRAITS     OP     DISTINGUISHED 
AMERICANS. 

40  George  Washington,  by  Stuart. 

41  "  "  byPeale. 

42  Martha  Washington. 

43  John  Adams,  .         2d  Pres.  U.  i 

44  Thomas  Jefferson,  3d     "         " 

45  James  Madison,     4th    "         " 

46  James  Monroe,       5th    "         " 


47  John  Q.  Adams,  6th  Pres.  U.  S. 

48  Andrew  Jackson,  7th 

49  Martin  Van  Buren,  8th 

50  General  Harrison,  9th 

51  John  Tyler,  ]0th 

52  James  K.  Polk,  llth 

53  Zachary  Taylor,  12th 

54  Millard  Fillrnore,  13th 

55  Franklin  Pierce,  14th 

56  James  Buchanan,  15th 

57  Abraham  Lincoln,  16th 

58  Andrew  Johnson,  17th 

59  U.  S.  Grant,  18th 

60  Lincoln    at   Home — a   beautiful 

picture    of   President   Lincoln 
and  his  son  Thaddeus. 

01  Henry  Clay. 

02  Daniel  Webster. 

63  Stephen  A.  Douglass. 

64  Edward  Everett. 

65  Washington  Irving. 

66  Professor  Longfellow. 

67  Dr.  Kane,  the  Arctic  Explorer. 

68  Rev.  Henry  Ward  Beecher,  D.D. 

69  Rev.  II.  W.  Bellows. 

70  lion.  W.  L.  Dayton. 

71  Horace  Greeley. 

72  Hon.  John  P.  Hale. 

73  Hon.  Hannibal  Hamlin. 

74  Geo.  D.  Prentiss,  of  Kentucky 

75  Stephen  Girard. 

76  Hon.  Charles  Sumner. 

77  Hon.  Simon  Cameron. 

78  Hon.  S.  P.  Chase,  Chief  Justice 

U.  S. 

79  Gov.  Andrew,  of  Mass. 

80  Gov.  Brownlow,  of  Tenn. 

81  William  Penn. 

82  Benjamin  Franklin. 

83  Lewis  Caw. 

84  Thomas  II.  Benton. 


Class  Vni— The  Principal  Battles  of  the  Franco-German  War 
of  1870. 

Drawn  on  the  Spot  by  S.  Kaim,  and  also  the  Portraits  from  Life  of  the 
principal  actors  during  the  War. 

PER    SLIDE,  $2.50. 


1  The  Battle  of  Weissenburg,  Aug. 

4,  1870. 

2  The  Battle  of  Woerth,  and  flight 

of  McMahon,  Aug.  6,  1870. 


3  Storming  of  Weissenburg,  Aug. 

4,  1870. 

4  General   view    of   the  Battle   of 

Sedan,  Sept.  1,  1870. 


22 


5  On  the  evening  of  the  Battle  of 

Sedan,  General  Reille  bearing 
surrender. 

6  Interview  between  Napoleon  and 

Bismarck  at  Doucheri,  Sept.  1, 
1870. 

7  Napoleon  surrendering  his  sword 

to  King  William,  Sept.  2,  1870. 

PORTRAITS. 

8  King  William  of  Prussia. 

9  Queen  of  Prussia. 

10  Crown  Prince  of  Prussia. 

11  Count  Bismarck. 

12  Leopold  of  Hohenzollern. 


13  Von  Moltke. 

14  Minister  of  War,  Von  Roon, 

15  General  Blurnentha.1. 

16  General  Falkenstein. 

17  General  Von  Goben. 

18  Napoleon  III. 

19  Empress  Eugenie. 

20  Prince  Imperial. 

21  General  MacMahon. 

22  General  Canrobert. 

23  General  Frossard. 

24  General  Bazaine. 

25  Garibaldi. 

26  Prince  Napoleon. 

27  General  Uhlrick. 

28  General  Steinmetz. 


Class  IX — Views  in  Sets,  conveying  Moral  Lessons. 

PER    SLIDE,    $2.50. 


1.  THE  PILGRIM'S  PROGRESS. 

A  Sunday-school  Concert  Exercise,  called 
"The  Song  of  the  Pilgrimage,"  is  much  xised 
•with  this  set.  Price,  60  cents  per  dozen. 

1  The  Pilgrim  and  his  Burden. 

2  The  Pilgrim  at  the  Gate. 

3  The  Slough  of  Despond. 

4  Christian  and  the  3  Shining  ones. 

5  The  Shining  Light. 

6  The  Pilgrim  and  the  Lions. 

7  Christian  and  the  Shepherds. 

8  The  Pilgrims  found  Sleeping. 

9  Vanity  Fair. 

10  Giant  Pope. 

11  Christian  Arming. 

12  Passing  through  the  Waters. 

J62T  This  set  can  be  extended  to  twenty 
pictures,  if  preferred. 

2.  CHRISTIANA  AND  HER 
CHILDREN. 

A  Sunday-school  Concert  Exercise,  called 
"  Christiana  and  her  Children,"  is  much  used 
•with  this  set.  Price,  96  cents  per  dozen. 

1  Christiana  and  her  Children. 

2  The  Letter. 

3  The  Man  with  the  Muck  Rake. 

4  The  Bath  of  Sanctiflcation. 

5  Great  Heart  and  the  Pilgrims. 

6  Fight  between  Great  Heart  and 

Grim. 


7  The  Young  Pilgrims  catechized 

by  Prudence. 

8  The  Shepherd  Boy  in  the  Valley 

of  Humiliation. 

9  The    Pilgrims   in   the  Valley  of 

the  Shadow  of  Death. 

10  The   Pilgrims   at   the   House  of 

Gaius. 

11  Death  of  Giant  Despair. 

12  Christiana  preparing  to  Cross  the 

River. 

j8QTlustead  of  this,  a  new  Series  of  twei.t  y 
slides  can  be  furnished,  if  desired. 

3.  DRUNKARD'S  PROGRESS 
AND  END. 

1  Domestic  Happiness. 

2  The  Temptation. 

3  A  Loving  Heart  made  Sad. 

4  The  Rum-hole— a  Substitute  for 

Home. 

5  Rum  instead  of  Reason. 

6  Degraded  Humanity. 

7  The  Cold  Shoulder  by  old  friends 

8  Rumseller's  Gratitude. 

9  Poverty  and  Want. 

10  Robbery  and  Murder. 

11  Mnnia-a-potu — the     Horror     of 

Horrors. 

12  The  Death  that  precedes  Eternal 

Death. 

In  Series  3  we  just  get  a  glimpse  at  the 
comic  side  of  the  melancholy  career  mere 
than  in  Series  4. 


23 


4.  THE  BOTTLE. 

From  the  originals  by  G.  Cruikshank. 

1  The  bottle  is  brought  out  for  the 

first  time.  The  husband  in- 
duces his  wife  "just  to  take  a 
drop." 

2  lie   is    discharged  from  his  em- 

ployment for  drunkenness. 
"Thsy  pawn  their  clothes  to 
supply  the  bottle." 

3  An     execution    sweeps    off    the 

greater  part  of  their  furniture. 
"They  comfort  themselves 
with  the  bottle." 

4  Unable   to   obtain  employment, 

they  are  driven  by  poverty 
into  the  streets  to  beg,  and  by 
this  means  still  supply  the 
bottle. 

5  Cold,  misery,  and  want  destroy 

their  youngest  child.  "They 
console  themselves  with  the 
bottle." 

6  Fearful  quarrels  and  brutal  vio- 

lence are  the  natural  conse- 
quences of  the  frequent  use  of 
the  bottle. 

7  The  husband,  in  a  furious  state 

of  drunkenness,  kills  his  wife 
with  the  instrument  of  all  their 
misery. 

8  The  bottle  has  done  its  work — 

it  has  destroyed  the  infant  and 
the  mother;  it  has  brought  the 
son  and  daughter  to  vice  and 
to  the  streets,  and  has  left  the 
father  a  hopeless  maniac. 


5.  THE  BOTTLE— (Come.) 

EIGHT    SLIDES,    PER   SET,    $12.00. 

;•  The  Toast. 

2  Various  Brands. 

3  Irish  Whisky,   Scotch   Gin,  and 

Five  Points  Hum. 

4  Stabbing. 

5  Shooting. 

6  Robbing. 

7  Hanging. 

8  The  End. 


6.  STOMACH  OF  THE  DRUNK- 
ARD  IN  ITS  DIFFERENT 
STAGES  OF  DISEASE. 

APPEARANCE    OP    THE    STOKACH. 

1  Of  a  Temperance  Man. 

2  Of  the  Moderate  Drinker. 

3  Of  the  Drunkard. 

4  After  a  Debauch. 

5  Of  a  Hard  Drinker. 

6  Of  a  Habitual  Drunkard. 

7  Of  a  Drunkard    on  the  verge  of 

the  grave. 

8  During  Delirium  Tremens, 

7.  THE  GAMBLER'S  CAREER. 

1  The   first    seed   of    the 

planted  in  the  young  mind, 

2  The  development  of  the  passion 

with  higher  stakes. 

3  Finding  himself  always  the  loser, 

he  resorts  to  false  play. 

4  He  is  detected  and  roughly  han- 

dled by  his  friends, 

5  Having  finally   lost   his   all,  he 

leaves  the   gambling-house  in 
despair  and  madness. 

6  He  ends  his  life  in  a  mad- house, 

still  occupied  with  his  ruling 
passion. 

8.  THE  TEN  COMMANDMENTS. 

ILLUSTRATED    IS    12    PICTURES. 

1  Thou   shalt  have  no  other  gods 

before  me. 

2  Thou  shalt  not  make  unto  thee 

any  graven  image. 

3  Thou  shalt  not  take  the  name  of 

the  Lord  thy  God  in  vain. 

4  Remember  the  Sabbath  day  to 

keep  it  holy. 

5  Honor  thy  father  and  thy  mother. 

6  Thou  shalt  not  kill. 

7  Thou  shalt  not  commit  adultery. 

8  Thou  shalt  not  steal. 

9  Thou  shalt  not  bear  false  witness 

against  thy  neighbor. 

10  Thou  shalt  not  covet. 

11  Moses  receiving  the  Tables  of  the 

law. 

12  Moses  delivering   the  Tables  of 

the  law  to  the  people. 


24 


9.  THE  LORD'S  PRAYER. 

ILLUSTRATED. 

Original  designs  by  Nisle. 

1  "  Our  Father  which  art  in  hea- 

ven." 

2  "  Thy  will  be  done  on  earth  as  it 

is  in  heaven." 

3  "Give   us    this    day   our   daily 

bread." 

4  ' '  Forgive  us  our  debts  as  we  for- 

give our  debtors." 

5  "Lead  us  not  into  temptation." 

6  "  Deliver  us  from  evil." 

7  "Thine  is  the  kingdom,  and  the 

power,    and   the  glory,   for- 
ever.    Amen." 


10.  FOUR  SCENES    FROM    THE 
LIFE  OF  A  COUNTRY  BOY. 

1  Leaving  Home. 

2  Temptation  and  Fall. 

3  Farther  on — Gambling. 

4  At  Last— the  Forged  Check. 

11.  SHAKSPEARE'S  SEVEN 
AGES  OF  MAN. 

1  The  Infant. 

2  The  School-boy. 

3  The  Lover. 

4  The  Soldier. 

5  The  Justice. 

6  The  Lean  and  Slippered  Panta- 

loon. 

7  The  Last  Scene. 


12.  MASONIC  AND  OTHER 
LODGE  PICTURES. 

.1  Skull  and  Cross  Bones. 

2  Crown  and  Glory. 

3  The  Pilgrims. 

4  The  Knight. 

5  Ascension. 

6  The  Skeleton. 

7  Temple  of  Honor. 

8  First  Star. 

9  Second  Star. 


10  Third  Star. 

11  Open  Grave. 

12  Closed  Grave. 

13  The  Rainbow. 

14  The  Forge. 

15  Punishment. 

16  Family  Happiness. 

17  Washington. 


13.  TAM  O'SHANTER. 

ILLUSTRATING    BURNS'    POEM. 

Maggie 


1  "And   scarcely  had   he 

rallied, 

When    out   the    hellish    legion 
sallied." 

2  "Gathering  her  brows  like  gather. 


ing  storm, 
ursii 


Nursing  her  wrath  to  keep  it 
warm." 

3  "The  Souter  tauld  his   queerest 

stories, 

The  landlord's  laugh  was  ready 
chorus." 

4  ' '  Nae   man   can   tether    time  or 

tide  ; 

The  hour  approaches  Tarn  maun 
ride." 

5  <*Ae  spring  brought  off  her  master 

hale, 

But  left  behind  her  ain  gray 
tail." 

6  "And  vow!    Tarn  saw  an  unco' 

sight! 

Warlocks    and    witches    in    a 
dance." 


14.  NEW  TALE  OF  A  TUB. 

A    COMIC    POEM    ILLUSTRATED. 

Each  set  of  these  Pictures  is  accompanied 
by  a  copy  of  the  Poem. 

1  Opening  the  Question — the  Ben- 

gal Tiger. 

2  Bengal  Ease. 

3  The  Artful  Dodge. 

4  Look  before  you  Leap. 

5  Under  Cover. 

6  Increasing   the   interest   of  the 

Tail. 

7  The  Climax. 


25 


15.  THE  HISTORY  AND  AMUS- 
ING ADVENTURES  OF  REN- 
ARD,  THE  SLY  FOX. 

From    the    Celebrated    Illustrations   by 
Kaulbach,  of  Munich. 

1  Renard  leads  Bruin  to  search  for 

honey  and  entraps  him. 

2  Renard  feigns  death,  deceives  the 

crows,  kills  and  eats  them. 

3  Renard  deludes  the  storks,  bites 

off  their  heads  and  eats  them. 

4  Renard  entraps  the  hares. 

5  Renard  plots  the  destruction  of 

the  chicken  famihy. 

6  Renard  kills  the  chickens,  but  is 

taken  prisoner. 

7  Renard  condemned  to  death. 

8  Renard  taken  from  prison  to  cure 

the  king,  and  succeeds. 

9  Renard's  cousin,  a  she -monkey, 

implores    the   king  to  pardon 
Renard. 

10  Renard's  life  spared,  on  condition 

that  he  fights  with  the  wolf. 

11  Renard  greases  his  whole  body, 

so   that   the  wolf  cannot  lay 
hold  on  him. 

12  Renard  succeeds  in  blinding  the 

wolf,  and  conquers   him  with 


13  Renard  receives   the  homage  of 

the  courtiers  and  the  people. 

14  Renard  decorated  by  the  king, 

and  appointed  counselor. 

15  Renard  lives  henceforth  a  life  of 

ease  and  opulence  in  his  lux- 
urious house. 


1C.  SELECTIONS  FROM  THE 
FABLES  OF  LAFONTAINE. 

ILLUSTRATED  BY  GRANDVILLE. 

The  Text  to  these  amusing  and  interest- 
ing Fables  may  be  found  in  E.  WEIGHT'S 
English  Translation,  published  by  WILLIS 
P.  HAZA.BD,  Philadelphia. 

1  The  Grasshopper  and  the  Ant. 

2  The  Raven  and  the  Fox. 

3  The  Frog  that  Wished  to  be  as 


4  The  Wolf  and  the  Dog. 

5  The  City  Rat  and  the   Country 

Rat. 

6  The  Wolf  and  the  Lamb. 

7  The  Thieves  and  the  Ass. 

8  Death  and  the  Unfortunate. 

9  Death  and  the  Woodman. 

10  The  Fox  and  the  Stork. 

11  The  Wolf  accusing  the  Fox  be- 

fore the  Monkey. 

12  The  Bird  Wounded  by  an  Arrow. 

13  The  Lion  and  the  Gnat. 

14  The  Ass  Loaded  with   Sponges, 

and  the  Ass  Loaded  with  Salt. 

15  The  Lion  and  the  Rat. 

16  The  Dove  and  the  Ant. 

17  The    Astrologer    who    stumbled 

into  a  Well. 

18  The  Hare  and  the  Frogs. 

19  The  Lion  and  the  Ass  Hunting. 

20  The  Miller,  his  Son,  and  the  Ass, 

21  The  Wolf  turned  Shepherd. 

22  The  Frogs  asking  a  King. 

23  The  Fox  and  the  Goat. 

24  The  Drunkard  and  his  Wife. 


17.  THE  CRUSADERS. 

1  Harangue  to  the  Crusaders. 

2  Departure  of  the  Crusaders. 

3  Combat  between  Crusaders  and 

Saracens. 

4  Crusaders  besieging  a  City. 

5  Breaking  up  of  the  Camp. 

6  Return  of  the  Crusaders. 


18.  THE  ILL-FATED  SHIP. 

1  The  Ship  Leaving  the  Wharf. 

2  The  Ship  Sailing  with  Fair  Wind. 

3  The  Commencement  of  a  Storm. 

4  Height  of  a  Storm. 

5  The  Ship  on  Fire. 

6  The  Raft. 


19.    SCHILLER'S  SONG  OF  THE 
BELL. 

1  Portait  of  the  German  Poet,  Fr. 

V.  Schiller. 

2  The  Baptism. 


26 


3  Happy  Home. 

4  Going  to  Church. 

5  Marriage  Bell. 

6  Harvest  Home. 

7  Fire  Bell. 

8  The  Tocsin. 

9  Funeral  Bell. 

10  liaising  of  the  Bell. 


20.  RIP  VAN  WINKLE. 

1  His  Scolding  Wife. 

2  Rip  with  the  Children. 

3  Rip  at  the  Village  Inn. 

4  The  Di  inking  Party  in  the  Moun. 

tain. 

5  Rip  Returns  to  his  Home. 

6  Rip  Relating  his  Story. 


Class  X — Miscellaneous  Pictures. 


PER    SLIDE, 


1  Alpine  Cottage. 

2  Approach  of  Evening. 

3  Angels  of  the  Madonna  Sixtina. 

4  Angel  of  Peace. 

5  Angel  of  Light. 

6  "A  Baby  was  Sleeping." 

7  Agriculture. 

8  America. 

9  Asia. 

30  Bacchus  and  his  Panthers. 

11  Bargaining  for  a  Horse. 

12  Basanio  and  Portia. 

13  Bed  Time. 

14  Behave  Well. 

15  Beware. 

]  6  Blessings  of  the  House  and  of  the 
Field. 

17  Bo  Peep. 

18  Bolton  Abbey,  in  the  olden  time. 

19  Both  Puzzled. 

"But,  sir,  if  wanst  naught  be  nothin', 
then  twice  naught  must  be  some- 
thin',  for  its  double  what  wanst 
naught  is." 

20  Brigand's  Hat. 

21  Briquet  Hound. 

22  Broken  Doll. 

23  Cabman's  Leisure  Hour. 

24  Cavalry  Charge. 

25  Cendrillon. 

26  Charity. 

27  Children's  Dance. 

28  Children's  Offering. 

29  Children  Making  Wreaths. 

30  Children  of  Charles  the  First 

31  Christmas  Eve. 

32  Christian  Maiden. 

33  Cocoa  Merchant. 

34  Come  Aloiig. 

35  Coming  thro'  the  Rye. 

36  Consolation. 

37  Contentment. 

38  Cross  of  Prayer. 


39  Crossing  the  Thny. 

40  Dancing  Children. 

41  Darwin  Expounding  his  Theory 

(comic). 

42  Daughter  of  the  East 

43  Daughter  of  Zion. 

44  Deceiving  Granny. 

45  Deer  Stalkers. 

46  Dinah  Consoling  Hetty  in  Prison. 

47  Doll's  Birthday. 

48  Donkey  Race  (comic). 

49  Drawing  the  Net  at  Hawcsworth. 

50  Driving  Home  the  Flocks. 

51  Drift  Wreck  from  the  Armada. 

52  Drumming  Lesson. 

53  Eagle  and  Shield. 

54  Engineering. 

55  Enjoying   the   Breeze   near   the 

Lake. 

56  English  Cottage. 

57  Evangeline. 

58  Eve  of  the  Flight. 

59  Expectation. 

60  Faith. 

61  Fairy  Tales. 

62  Faithful  Friend. 

63  Family  Happiness. 

64  Farewell. 

65  Farm  Yard  in  Winter. 

66  Feeding  the  Dogs. 

67  First  Alms. 

68  First  Born. 

69  First  Lesson. 

70  First  Reformer's  Protest. 

71  Forester's  Family. 

72  Flute  Lesson. 

73  Full  Practice. 

74  Game  of  Life. 

75  Gardener's  Daughter. 

76  Gathering  the  Mistletoe. 

77  Genius  of  Electricity. 

78  Genius  of  Steam. 

79  Girl  Milking. 


27 


80  Glimpse  of  an  English  Homestead. 

81  Going  to  Bed. 

82  Going  Halves. 

83  Gourmand. 

84  Grandma's  Pet. 

85  Grandpa's  Siesta. 

86  Gretchen  and  her  Pet  Lamb. 

87  Hannibal  Crossing  the  Alps. 

88  Happy  as  a  King. 

89  Hero. 

90  Highlander's  Dream  of  Home. 

91  Hold  Straight. 

92  Home  Again. 

93  Homeless. 

94  Hope. 

95  Hunting  the  Walrus. 

96  Imaginary  Sick  Bachelor. 

97  Inundation. 

98  Knitting  Lesson. 

99  Last  Parting  of  the  Sons  of  Ed- 

ward IV. 

100  Lazy  Little  Girl. 

101  Left  in  Charge. 

102  Leopard  Hunter. 

103  Lily  of  Ghent. 

104  Little  Arithmetician. 

105  Little  Family. 

106  Little  Fruiterer. 

107  Little  Harvesters. 

108  Little  Shepherds. 

109  Loan  of  a  Bite. 

110  Love  at  First  Sight. 

111  Love  Token. 

112  Maid  of  Orleans. 

113  Martin    Luther     Burning    the 

Pope's  Bull,  December,  1520. 

114  Mama's  Birthday. 

115  Mary's  Pet  Lamb. 

116  May  Pole. 

117  Men  of  War  at  Sheerness. 

118  Milking  the  Goats. 

119  Miracle  of  St.  Mark. 

120  Monarch  of  the  Glen. 

121  Mothers  Shadow. 

122  Mother's  Grave. 

123  Mother  Goose. 

124  My  Lady's  Page  in  Disgrace. 

125  Napoleon's  Death  Bed. 

126  Naughty  Child. 

127  Neapolitan  Peasants. 

128  Near  the  Falls. 

129  Night. 

130  Noon  on  the  Lake  Shore. 

131  Norham  Castle. 


132  "Nothing     Venture,     Nothing 

Have." 

133  Oh  !   or  the  Astonished  Rustics. 

134  On  the  Way  to  School. 

135  On  the  Yorkshire  Coast. 

136  One  Pipe  and  Two  Crackers. 

137  Open  Bible.     Psalm  xix. 

138  Othello    Relating     his    Adven- 

tures. 

139  Overtasked. 

140  Peek-a-Boo. 

141  Penman  in  Trouble. 

142  Perdita  and  Florizel. 

143  Persuasion. 

144  Phoebe  Mayflower. 

145  Picture  Book. 

146  Playing  at  Doctor. 

147  Play  Ground. 

148  Pride  and  Humility. 

149  Primrose  Gatherers. 

150  Protection. 

151  Rabbit  Fanciers. 

152  Reading  the  Psalms. 

153  Renewal  of  the  Lease  Refused. 

154  Return  from  the  Fair. 

155  Return  of  the  Swallows. 

156  Salmacis. 

157  Saved. 

158  St.  Agnes. 

159  Santo  Barbara. 

160  Saint  Mark  and  the  Saints. 

161  Saint  Peter,  Martyr. 

162  Scene  at  a  Fire. 

163  Sewing  Lesson. 

164  Scene  at  a  Tournament 

165  Sheltering  Tree. 

166  Shepherd's  Bible. 

167  School  Master  in  Love  (comic). 

168  Siesta  after  a  Hearty  Meal. 

169  Siesta,  Eugenie  and  Ladies. 

170  Snow  Storm. 

171  Soldier's  Home. 

172  Spaniards  and  Peruvians. 

173  Stag  at  Bay. 

174  Steamboat  Race  on  the  Missis- 

sippi. 

175  Stream  of  Life. 

176  Study. 

177  Summer  Afternoon. 

178  Tenderly  Nursing. 

179  Tight  Cork  (comic). 

180  Three  Christian  Graces. 

181  Three  Members  of  the  Temper- 

ance  Society 


28 


182  Toilet. 

183  The  Pets. 

184  The  Two  Dogs. 

185  The  See-saw. 

336  Unconscious  Sleeper. 

187  Victor  of  the  Glen. 

188  Washington     Irving     and     his 

Literary  Friends  at  Sunnyside. 

189  Washing  Day. 

190  Whitewashing. 


191  Winter  in  New  England. 

192  Winter's  Morning. 

193  Wounded  Hound. 

194  Writing  Lesson. 

195  Youthful  Anglers. 

196  Youthful  Queen. 

197  Young     Companion   and    their 

Hungry  Friends. 

198  Young  Brood. 


Class  XI — Dissolving  Views. 

Selected  and  executed  with  great  care,  in  sets,  so  as  to  produce  charming  effects 
in  dissolving. 


Four  Slides,  $12.50. 

1  Fort  Sumter  in  Time  of  Peace  : 

Daylight,         Moonlight. 

Fort  Surnter  in  time  of  War : 
On  Fire  during  the  Bombard- 
ment. 
Fire  and  Smoke  Rising. 

Three  Slides,  $10.00. 

2  Bay  of  Naples  and  Mt.  Vesuvius: 

Day,  Night, 

Eruption — Fire     and     Smoke 
Rising. 

Three  Slides,  $10.00. 

3  Life  Near  the  North  Pole  : 

Day,  Night, 

Moving  Aurora  Borealis. 

Three  Slides,  $10.00. 

4  Castle  of  St.  Angelo  and  Church 

of  St.  Peter  at  Rome. 
Day,  Night, 

Illuminated  and  Fireworks. 

Three  Slides,  $10.00. 

5  Christmas  Eve  : 

At  Home,  In  Camp, 

In  Camp,  Fire  Burning,  Smoke 
Rising. 

Four  Slides,  $10.00. 

6  The  Four  Seasons  : 

Spring,  Autumn, 

Summer,  Winter, 


Four  Slides,  $10.00. 

7  Voynge  of  Lijfe  : 

Childhood,         Manhood, 
Youth,  Old  Age. 

Two  Slides,  $7.50. 

8  Water  Mill  in  the  Alps  : 

Winter, 

Summer — Wheel  Moving. 

Tliree  Slides,  $7.50. 

9  The    Brave    Drummer-Boy    and 

his  Father  : 

Both  Enlist  in  the  Union 
Army. 

In  Battle  against  the  Enemies 
of  the  Union. 

Both  Mortally  Wounded  ;  they 
Die  together  on  the  Battle- 
field. 

Three  Slides,  $7.50. 

10  Love,   Engagement,   and   Marri- 

age: 

The  First  Meeting. 
Five  Minutes  after  the  engage 

ment. 
Five  Years  after  Marriage. 

Three  Slides,  $7.50. 

11  The  Hopeful  Bride. 
The  Happy  Mother. 
The  Mourning  Widow. 

Three  Slides,  $7.50. 

12  Courtship  for  the  Second  Wife  : 

The  Ghost  of  the  First  Wife 

Appears. 
The  Consternation. 


29 


Three  Slides,  $7.50. 

13  Life's  Day: 

Morning,  Noon, 

Night. 

SETS   OF  TWO  SLIDES. 
Per  set,  $5.00. 

14  Cause  and  Effect  : 

Rowing  Ajrainst  the  Tide. 
Rowing  With  the  Tide. 

15  He  who  Marries  does  Well. 

He   who   does    not  Marry   does 
Better. 

16  Morning  Star  Rising. 
Evening  Star  Setting. 

17  Grace  Before  Meat. 
Grace  After  Meat. 

18  Expectation,  Satisfaction. 

19  Old  Woman  Reading. 
Old  Woman  Reeling. 

20  Vase  of  Flowers  in  Bud. 

Vase  of  Flowers  in  Full  Bloom. 
2t  Temptation,  Perdition. 

22  Castle  of  Ehrenfels  on  the  Rhine  : 

Summer,  Winter. 

23  Oonway  Castle,  England : 

Day,  Moonlight. 

24  Windsor  Castle  : 

Day,  Moonlight. 

#5  Isola  Bella,  Italy  : 

Day,  Moonlight. 

26  The    Settlement    in    the    Back- 

woods. 

The  First  Beginning. 
The  Increase. 

27  Castle  of  Chillon  on  the  Lake  of 

Geneva,  Switzerland  : 
Day. 
Moonlight  in  Winter. 

28  Death-bed  of  the  Righteous  : 

John  Wesley's  Last  Moments 

Occupied  in  Praying. 
Death-bed  of  the  Wicked  : 

Cardinal  Richelieu's  Last  Mo- 
ments Occupied  in  Card- 
playing. 

29  Abel's  Sacrifice  Received. 
Cain's  Sacrifice  Rejected. 

30  Noah  Building  the  Ark. 

Noah    Receiving    Advice    from 
Above. 

31  Noah's  Sacrifice. 
Appearance  of  the  Rainbow. 


32  Israelites    Passing    through  the 

Red  Sea. 

Destruction  of  Pharaoh  and  his 
Host. 

33  The  Witch  of  Endor  Visited  by 

Saul. 

The    Witch     of    Endor    raising 
Samuel. 

34  Flower  Pieces  : 

Dahlias  and  Roses. 
Asters  and  Poppies. 

35  Fruit  Pieces  : 

Grapes,  Currants. 

36  English  Bull  Dogs. 
English  Sheep. 

37  The  Enemy  at  His  Hiding  Place. 
The  Enemy  at  the  Door. 

38  Rebels  Shooting  a  Prisoner. 
Rebels  Defeated. 

39  Before  the  Proclamation. 
After  the  Proclamation. 

40  Vanity,  Junketing. 

41  War,  Peace. 

42  The  Friendly  Meal. 

A  Temperance  Meeting. 

43  Joy,  Sorrow. 

44  Alexander  and  Diogenes. 
Jack  in  Office. 

45  The  Morning  Kiss. 
The  Evening  Prayer. 

46  High  Life,  Low  Life. 

47  Looking  In,  Looking  Out. 

48  Indolence  and  Folly  : 

The  Wrong  Way  of  Spending 

the  Sabbath. 

The  Explanation  of  the  Bible  : 
The  Right  Way  of   Spending 
the  Sabbath. 

49  Fondly  Gazing  (very  beautiful). 
"  Fondly  gazing  on  that  young  face, 

With  anxious  thoughts  of  future  years; 

The  mother  watched  each  budding  grace, 

And  mused  on  all  her  hopes  and  fears !" 

The   Empty  Cradle   (very  beau- 
tiful). 

"  Gone !  from  a  world  of  pain  and  woe ! 
Gone !  from  death— from  sin's  alloy, 
Gone !  from  temptation's  wiles  and,  Oh ! 
Gone!  gone!  from  grief  to  endless  joy! 

50  Mother's  Dream. 
Angel  of  Peace. 

51  Jeff  in  Power,  Surrounded  by  his 

Generals. 

Jeff  Powerless,    Surrounded   by 
his  Captors. 


30 


52  Oil  Stocks,  Up  ! 

Oil  Stocks,  Down ! 
63  Old   Patriot  of   '76  commenting 

on  the  Wicked  Rebellion. 

Death-Bed  of  a  Patriot  in  '64, 

Giving  Advice  to  his  Sons. 

54  The  Farewell. 

The  Farewell  Goodnight. 

55  Puck  and  the  Fairies. 

Puck  and  the  Fairies  Goodnight. 

56  The  Dream,         Goodnight. 

57  The  Contraband. 
The  Recruit. 

58  The  Landlord,         The  Tenant. 

59  The  Ball  Room. 
The  Workroom. 

60  St.  James's,  St.  Giles's. 

61  In  Public,  In  Private. 
C2  Within,  Without. 

63  The  First  Christmas  Morning. 
The  Star  Appearing  to  the  Shep- 
herds. 

64  The  Pet  of  the  Fancy. 
The  Pet  of  the  Ladies. 


65  The  Beggar. 
The  Opulent. 

66  Outward    Bound— The    Quay   at 

Liverpool. 

Homeward  Bound — The  Dock  at 
Boston. 

67  My  First  Sermon. 
My  Second  Sermon. 

68  Summer  Landscape. 
Winter  Landscape. 

69  White  Rose. 

Red  Rose  and  Cupid. 

70  The   Onconvaniances   of    Single 

Life. 
The  Raal  Convaniances. 

71  By  the  Seaside. 
Near  the  Falls. 

72  The  Toilet. 
The  Gourmand. 

73  Polar  Landscape. 
Halo. 

74  Polar  Landscape. 
Aurora  Borealis. 

75  Highlander's  Dream  of  Home. 
The  Vision. 


Class  XII— Chromatropes,  or  Artificial  Fire-Works,  &c. 

These  slides  are  singularly  curious,  the  effect  being  very  similar  to  that  of  the  Kaleido- 
scope. The  pictures  are  produced  by  brilliant  designs  being  painted  upon  two  circular 
glasses,  and  the  glasses  being  made  to  rotate  in  different  directions.  A  pleasing  variety  of 
changes  in  the  pattern  are  caused  by  turning  the  wheel— sometimes  slowly,  then  quiakly, 
backward  and  forward. 

1  "The  National  Flag"  Chromatrope.     From  designs  expressly 

made  to  introduce  the  colors  of  our  glorious  National  Flag. 

We  have  five  different  patterns  of  this  Chromatrope.     Each,.     $500 

2  "  The  Geometrical  "  Chromatrope.     A  variety  of  entirely  new 

and  original  patterns,  of  superior  Chromatic  and  Geometrical 
effects.  We  have  many  different  styles  of  this  Chromatrope. 
Each, 5  90 


31 

3  "  The  Washington  "  Chroinntrope.     A  new  and  beautiful  de- 

sign, with  a  photographic  likeness  of  "Washington  in  the  centre 
(copied  from  Stuart's  celebrated  painting  in  the  Boston  Athe- 
naeum), and  the  stars  and  stripes  revolving  around  it  in  glo- 
rious array.  Each $5  50 

4  "The  Lincoln"  Chroinatrope.     A  correct  likeness  of  our  la- 

mented President  in  the  centre  of  a  revolving  display  of  bril- 
liant colors.  Each 5  50 

5  "  The  Good  Night  "  Chromatrope.     The  words  "  Good  Night,'' 

encircled  by  a  wreath  of  flowers  in  the  centre  of  a  Revolving 
Chromatrope — very  appropriate  as  a  closing  piece  of  an  exhi- 
bition. Each 5  50 

6  "Good   Night."     The   words  of  Good  Night  in  a  wreath  of 

flowers — by  moving  a  slip  the  words  appear,  .         .         .  3  50 

7  Moving  Waters.     Represents  the  Waters  moving  in  the  Moon- 

light—a very  beautiful  and  natural  effect,      .         .         .  2  50 

8  Marcy's  Eidotrope 75 


PAINTINGS    WITH    KEVOLVING    MOTION. 

9  View  of  Old  Ruins,  which,  by  being  turned  around,  changes  to 

Portrait  of  an  Old  Woman, 5  00 

30  Views  of  Rocks  and  Shrubbery,  which  by  being  turned  around, 

changes  to  Portrait  of  a  Satyr,       .         .          .         .         .  5  00 

11  Holland  Windmill,  with  Revolving  Faas 500 

12  Jeff  Davis  before  the  war — a  fierce-looking  Soldier  ;  by  turning 

the  slide,  the  same  painting  represents  him  after  the.  war — a 

long-eared  Jackass, 5  00 

13  Bombardment  of  Fort  Sumter  ;  the  Ironsides  throwing  Shell,  .  5  00 

14  Mount  Vesuvius — Eruption  ;  throws  out  Fire  and  Smoke,         .  5  00 

1 5  Snow  Slide — representing  falling  Snow.     Each,          .         .  4  50 
]G  The  Seven  Boys— The  Pleiades, 500 

17  Fountain, 5  00 

18  Newton's  Disc,  revolving  slides,  with  prismatic  colors,  for  re- 

composing  white  light 5  00 

19  A  Slide  representing  the  rolling  up  of  a  Curtain — intended  for 

commencing  an  exhibition,     .         .         .         .         .         .  5  50 

This  curtain  is  not  needed  with  the  Sciopticon,  as  its  present  front  arrangement 
answers  the  purpose  far  better,  and  can  be  used  with  any  slide. 


DISSOLVING    CHROMATROPE  S,    FOR   USE    ONLY   IN    THE    DISSOLVING 
LANTERNS. 

20  "Our  Peacemakers,"  Dissolving  Chromatrope.  Arranged  for 
dissolving  effect,  for  two  lanterns,  on  two  slides.  One 
slider  exhibits  the  National  colors  in  Chromatropic  effect, 
with  black  centre,  for  one  lantern.  The  other  slider,  in- 
tended for  the  other  lantern,  contains  on  a  movable  slider, 
five  life-like  portraits  of  President  Lincoln,  Major-Gener- 
als Grant  and  Sherman,  and  Admirals  Farragut  and  Porter, 
whicn  appear  in  the  centre  of  the  Chromatrope  in  succes- 
sion. Per  set, $12  00 


32 


21  "Our  Departed  Heroes,"  Difnclving  Chromatrope.  Arranged 
for  dissolving  effect,  for  two  lanterns,  on  two  slides.  One 
slider  exhibits  the  National  colors  in  Chromatic  effect,  with 
black  centre  for  the  one  lantern.  The  other  slider,  in- 
tended for  the  other  lantern,  contains  on  a  movable  slider 
five  life-like  portraits  of  distinguished  heroes  who  lost 
their  lives  for  the  preservation  of  the  Union.  Per  set,  .  $12  00 
0^"  Extra  Portrait  Slides,  adapted  for  the  use  of  the  Dissolving  Chro- 

matropes.     Each  slider  contains  five   life-like   portraits   of  distinguished 

Generals.     Per  slide,  $7.50. 


Class  XIII— Original  Leaf  Designs. 

Colored  and  mounted  in  wood. 
PER    SLIDK,   $1.50. 


Motto,  "God  is  Love." 
"        "  Feed  my  Lambs. " 
"       "God  will  Provide." 
"        "Faith,  Hope,  Charity." 

Leaf  Cross. 


Leaf  Anchor. 
"     Harp. 

"  Cross  and  Crown. 
"  Merry  Christmas. 
"  Happy  New  Year. 


Class  XTV — Statuary  and  Bas  Reliefs. 

Backed  with  opaque  paint,  and  mounted  in  Wooden  Frame 
PER    SLIDE,   $1.50. 


1  Night.  Thorwaldsen. 

2  Morning. 

3  The  Four  Seasons — Spring. 

4  The  Four  Seasons — Summer. 

5  The  Four  Seasons — Autumn. 
G  The  Four  Seasons — Winter. 

7  The  Council  of  War.         Koge 

8  The  Fairy's  Whisper. 

9  Taking  the  Oath. 

10  Union  Refugees. 

11  The  Home  Guard. 

12  The  Charity  Patient. 

13  The  Returned  Volunteer. 

14  The  Wounded  Scout. 

15  The  Country  Post-Ofiice. 

16  The  School  Examination. 

17  The  Picket  Guard. 

18  The  Village  School  Master. 

19  The  Town  Pump. 

20  Mail  Day. 

21  The  Bushwhacker. 

22  Courtship  in  Sleepy  Hollow. 

23  The  Checker  Players. 

24  Uncle  Ned's  School. 

25  Apollo  Belvidere. 


26  The  Three  Graces. 

27  The  Greek  Slave. 

28  Eve,  before  the  fall. 


31  The  Serenade. 

32  The  Courtship. 

33  The  Minstrel. 

34  Dog  Group. 

35  The  Sentry  Box. 

36  The  Three  Companions. 

37  The  Cymbal  Player. 

38  The  Flower  Girl. 

39  Flora. 

40  Psyche. 

41  Clio. 

42  Spring  Season. 

43  Solitude. 

44  Woodman's  Companion. 

45  The  Little  Market  Girl. 

46  Industry. 

47  Pandora. 

48  The  Three  Companions, 

49  Sympathy. 

50  The  Invalid. 


33 


51  The  Two  Companions. 

52  The  Flower  Girl  of  Paris. 

53  Courtship. 

54  Toilet  Stand. 

55  Roman  Vase. 

56  Etruscan  Vase. 

57  The  Mischievous  Brothers. 

58  Faith. 

59  Evening. 

60  Morning. 

61  Shakspeare. 

62  Ariadne  and  the  Tiger. 

63  Feeding  the  Pet  Dove. 

64  Our  Saviour — after  La  Roche. 

65  The  Little  Companion. 

66  Devotion. 

67  Bedtime  Prayer. 

68  Innocence. 

69  The  Pet  Dove. 

70  Faith. 


71  Roman  Emperor  Caligula. 

72  Roman  Emperor  Caracalla. 

73  Minerva. 

74  Rubens. 

75  Michael  Angelo. 

76  Highland  Mary. 

77  Fisherman's  Daughter. 

78  Marguerita. 

79  Jupiter  and  Hebe. 

80  Sicilian  Dancers. 

81  Cupid  Asleep. 

82  Una  and  the  Lion. 

83  The  Hunter. 

84  After  the  Bath. 

85  Amazon  attacked  by  a  Lion. 

86  Amor  Indignant. 

87  The  Last  Drop. 

88  The  Pitcher-Girl. 

89  The  Gladiator. 


Class  XV— Select  Painted  Comic  Slip  Slides,  giving 
Laughable  Motion  to  the  Figures. 

PER   SLIDE,    $1.25. 


1  Birth  of  Cupid. 

2  Beggar. 

3  Boy  Smoking. 

4  Boys  Birds'  Nesting. 

5  Cottage,  with  Bridge  and  Boats. 

6  Countryman  and  Dog  Changing 

Heads. 

7  Cutting  Corns. 

8  Dentist  Drawing  Teeth. 

9  Drinking  Fountain. 

10  Dog  in  Kennel. 

11  Domestic  Shower- .rfath. 

12  Diver  and  Shark. 

13  Dutchman — Moving    Eyes    and 

Jaw. 


14  French  Cook  Cooked. 

15  Good  Night,  in  Wreath  of  Flow- 

ers. 

16  Jugged  Hare. 

17  Lady  with  Expanding  Dress  and 

Bonnet. 

18  Lecture  on  Tobacco. 

19  Lion — Moving  Eyes  and  Jaw. 

20  Lovers  in  Boat. 

21  Lodging-house  Bedstead. 

22  Li^ht-house  in  Storm. 

23  Mischievous  Monkey. 

24  Man  Swallowing  Rats. 

25  Monkey  Dipping  Cat. 

26  Magician  and  Ghost. 


3 


34 


27  Moving  Water  and  Swan. 

28  Man  Throwing  Stick  in  Water, 

and  Dog  Swimming. 

29  Nightmare. 

30  Nearing  Shore— Dog  with  Child 

in  Water. 

31  Pink  Expanding. 

32  Pair  of  Snuffers. 

33  Peacock. 

34  Performance  on  Two  Chairs. 

35  Parrot  Pulling  off  Man's  Wig. 

36  Rose  and  Fairy. 

37  Somnambulist. 

38  Sailor  Smoking. 

PER    SLIDE, 


39  Smuggler's  Cave. 

40  Spider  and  the  Fly. 

41  Turk's  head — Moving  Eyes. 

42  Topsy — Moving  Eyes. 

43  Treading  in  Father's  Shoes. 

44  Tax  Collector. 

45  Taking  off  Boots. 

46  Tulips. 

47  Windy  Day. 

48  Woman  with  Cat's  Head. 

49  Woman  with  Growing  Nose  and 

Chin. 

50  A  Witch. 

$1.75. 


1  Anti-Teetotaler. 

2  Acrobats  Performing. 

3  Barber. 

4  Blacksmith. 

5  Cupid  and  Rose. 

6  Combing  a  Bald  Jlead. 

7  Cook  and  Boar's  Head. 

8  Clown  Performing. 

9  Death  on  the  Pale  Horse. 

10  Death  in  the  Cup. 

11  Dentistry  Improved. 
]  2  Drawing  Boot. 

13  Don't  you  Wish  you  may  Get  it  ? 

14  Expanding  Crinoline. 

15  Expanding  Carnation. 
1C  Ferocious  Pig. 


17  Goose  and  Tailor. 

18  Growing  Nose. 

19  Good  Night. 

20  How  d'ye  Do? 

21  Insect  Changes. 

22  Man  Eating  Rats. 

23  Mischievous  Monkey. 

24  Nightmare. 

25  Pickwick  and  Widow  Kissing. 
2ft  Parson  and  Punch. 

27  Roman  Nose. 

28  Scene  on  the  Rhine. 

29  Stuck  Fast. 

30  Turk's  Head. 

31  Tiger's  Head. 

32  Tailor  and  Geese. 


Class  XVI— Paintings  with  Levers,  giving 
Motion  to  the  Figures. 

PER    SLIDE,    $2.50. 


1  Lady  Riding. 

2  Stag. 

3  Woodman. 

4  Moving  Chin. 


5  Cobbler  at  Work. 

6  Bill  Sticker. 

7  Man's  F:ico. 

8  Horse  Drinking. 


35 


9  Sambo  Lecturing. 

10  Stone  Breaker. 

11  Large  Ship  by  Ni  rht. 

12  Small  Ship  and  Lighthouse. 

13  Boy  on  Donkey. 

14  Swan  Drinking. 

15  Stag  Drinking. 

16  Cow  Drinking. 

17  Beggar. 

18  See-Saw. 

19  Boy  Stealing  Apples. 

20  Gout. 

21  Digger. 

22  Monk  Praying. 

23  Boy  Cleaning  Boots. 

24  Reaper. 

25  Fractious  Child. 

26  Monkey  Dipping  Cat. 

27  Lady  Playing  Pianoforte. 

28  Gent  in  Pegtops  taking  off  Hat. 

29  Horse  Eating. 

30  Children  in  Boat. 

31  Grooming  Horse. 


32  Donkey  Riding  Extraordinary. 

33  Sam  Weller  Cleaning  Boots. 

34  Woman  Beating  Boy. 

35  Lady  Praying. 

36  Ship  in  a  Gale. 

37  Girl  Feeding  Goat. 

38  Fiddler. 

39  Volunteer. 

40  Monkey  and  Fish. 

41  Doctor  and  Patient. 

42  Dying  Camel. 

43  Bathing. 

44  Dog  of  St.  Bernard. 

45  Native  Nursing. 

46  Pleasure  Boat  in  Rough  Water. 

47  Steamboat  Pleasure  Trip. 

48  Goat  Feeding. 

49  Natives. 

50  Look  before  you  Leap. 

61  Robinson  Crusoe  on  his  Raft. 

52  Looking  Out  for  Papa. 

53  Signals  of  Distress. 
64  Farmer  and  Pig. 


Class  XVII  —  Dioramic  Paintings,  with  Moving  Figures, 

On  Slides,  from  twelve  to  fourteen  inches  long,  with  two  Glasses,  on  one  of  which  the 
scene  is  painted,  and  on  the  jther  the  Figures.  The  Glass  containing  the  Figures  is 
moved  in  a  groove,  and  the  Figures,  Vessels,  &c.,  pass  across  the  Scene. 


PER    SLIDE,  $4.00. 


1  Holyrood  Chapel. 

2  Dover  Castle. 

3  Bernard  Castle. 

4  Virginia  Water. 

5  Conway  Castle. 

6  Coventry. 

7  Lambeth  Palace 

8  Sidon. 

9  Smuggler's  ^ave. 

10  Newstead  Abbey. 

11  Pyramids  of  Egypt. 

12  Warwick  Castle. 
>iJ  Thames  Tunnel. 


14  Israelites  Crossing  the  Red  Sea. 

15  Noah  Entering  the  Ark. 

16  Menagerie. — Keeper  pointing  to 

the  cage,  in  which  various  ani- 
mals appear  in  succession 

17  Melrose  Abbey. 

18  Tintern  Abbey. 

19  Eddystone  Light  House. 

20  Rome  and  the  Tiber. 

21  Arch  of  Trajan. — Procession  of 

Monks. 

22  Nagasaki  in  Japan. 

23  Castle  of  Chillon. 


Class  XVHI— Paintings  Illustrating  Nursery  Tales, 

1  Old  Man,  Son  and  Ass ;  or,  the  Folly  of  Trying  to  Please  Every 

One,  eight  paintings  on  two  slides, $4  00 

2  House  that  Jack  Built,  ten  paintings  on  two  slides,  .         .  4  00 

3  Jack  and  the  Bean  Stalk,  eight  paintings  on  two  slides,    .  4  00 

4  Whittington  and  Cat,  ten  paintings  on  two  slides,      .         .  4  00 

5  John  Gilpin,  nine  paintings  on  two  slides,          .         .         .  4  00 

6  Cock  Robin,  ten  paintings  on  two  slides, 4  00 


36 

7  Cinderella,  eight  paintings  on  two  slides, $4  00 

8  Robinson  Crusoe,  eight  paintings  on  two  slides,                            .       4  00 

9  Mother  Hubbard,  eight  paintings  on  two  slides,  .       400 

10  Seven  Ages  of  Man,  seven  painting?  on  one  slide,                        .       2  00 

11  Blue  Beard,  four  paintings  on  one  slide,    .                                              2  00 

12  Jack  and  the  Bean  Stalk,  eight  slides,  per  set,  .                             .     11  00 

13  Pusa  in  Boots,  twelve  slides,  per  set,  ...                           .     15  00 

14  Tale  of  a  Tub,  seven  slides,  per  set,  ...                            .     10  50 

15  Babes  in  the  Wood,  per  set 12  00 

Class  XIX — Beautifully  Colored  Photographs  of  Fine 
Engravings. 

Lists  in  detail  sent  on  application. 

PER    SLIDE,    $2.50. 

The  number  of 
Slides  in  each  Set. 

1  Dore's  Illustrations  to  the  Bible 230 

2  Bore's  Illustrations  to  Milton's  Paradise  Lost,      .         .  50 

3  Dore's  Illustrations  to  Dante's  Inferno,          .....  76 

4  Dore's  Illustrations  to  the  Legend  of  the  Wandering  Jew,    .         .  12 

5  Pictures  in  the  Royal  Galleries  of  Dresden,  Munich,  and  Berlin,  .  80 

6  St.  Paul's  Journey s  Illustrated, 34 

7  Kaulbach's  "Shakespeare  Gallery," 12 

8  Views  on  the  Bosphorus, 80 

9  Solomon's  Temple 20 

10  Selections  from  Bendemann's  Frieze,  in  Royal  Palace,  Dresden,  .  40 

11  Prae-Raphaelite  Pictures,  by  Italian  masters,       ....  36 

12  Scenes  Illustrating  Cooper's  Novels,  by  Darley,    ....  32 

13  Commodore  Wilkes's  Exploring  Expedition,          .         .  40 

14  Dr.  Kane's  Arctic  Explorations, 14 

15  American  Civil  War, 1000 

16  Franco-German  War, 50 

17  Chicago  Fire 50 

18  The  American  in  Europe,  by  H.  C.  Crocket,         ....  19 

19  Fables  of  JEsop, 24 

20  Life  and  History  of  a  Horse 8 

21  Adventures  of  s  Frog,  .........  15 

22  Grisetts  Grotesques,  by  Tom  Hood, 36 

23  Illustrations  of  Burns's  Poem,  "  Cottar's  Saturdny  Night,"          .  8 

Also  many  others  which,  if  not  in  stock,   can  be  made  from  negatives 
on  hand,  at  short  notice. 


87 


SCIENTIFIC  DEPARTMENT. 


The  pictures  in  the  following  Scientific  Sets  are  photographs  beautifully  colored,  except 
in  such  individual  cases  as  do  not  admit  of  color. 

When  these  are  sealed  in  Canada  Balsam,  with  carefully  finished  sky  and  background, 
they  are  sold  at  $2.50  each.  Considering,  however,  that  for  educational  uses,  there  is 
little  need  for  this  extra  finish,  and  that  their  demand  for  school  purposes  is  likely  to  be 
large,  the  choicest  of  them  have  been  selected  to  be  sold  in  sets  at  an  average  of  $1  50 
each.  When  not  taken  in  sets,  they  are  $2.00  each ;  when  sealed,  as  above  indicated,  they 
are  $2.50  each. 

These  Scientific  Slides  are  just  suited  to  the  wants  of  Educationalists  at  this  time.  They 
need  but  to  be  known  to  be  very  highly  appreciated.  These,  with  the  Sciopticon,  are  far 
more  useful  than  huge  piles  of  cumbersome  philosophical  apparatus  of  many  times  the  cost. 


Class  XX  —  Mammalia. 

TWENTY    SLIDES,  PER  SET,    $30.00. 

25  Vampire  Bat. 

26  Mole. 

1  Gorilla. 
2  Lion. 

27  Hedgehog. 
28  Serval. 

3  Tiger. 

29  Puma. 

4  Jaguar. 
5  Leopard. 
6  Lynx. 

30  Shepherd's  Dog. 
31  Esquimaux  Dog. 
32  Weasel. 

7  Hyena. 

33  Skunk. 

8  Wolf. 
9  Newfoundland  Dog. 

34  Raccoon. 
35  Brown  Bear. 

10  Fox. 
11  Grizzly  Bear. 

36  Polar  Bear. 
37  Marbled  Seal. 

12  Seal. 

38  Crested  Seal. 

13  Kangaroo. 
14  Red  Squirrel. 

39  Sea  Lion. 
40  Walrus. 

15  Porcupine. 
16  Elephant. 
17  Rhinoceros. 

41  Opossum. 
42  Gray  Squirrel. 
43  Beaver. 

18  Reindeer. 

44  California  Gopher. 

19  Giraffe. 
20  Camel. 

45  Bushy-tailed  Rat. 
46  Brown  Rat. 

47  Guinea  Pig. 

ADDITIONAL   ILLUSTRATIONS, 

48  Red  Rabbit. 

49  Sloth. 

PER  SLIDE,  $2.00. 

50  Armadillo. 

21  King  of  the  Cannibals. 

51  Ant  Eater. 

22  Skeleton  of  Man  and  Gorilla. 

52  Duck-bill. 

23  Mandrill. 

53  Skeleton  of  Elephant. 

24  Diadem  Lemur. 

54  Hippopotamus. 

38 


55  Malayan  Tapir. 

56  Wild  Boar. 

57  Horse. 

58  Zebra. 

59  Red  Deer. 

60  Gazelles. 

61  Chamois. 

62  Sheep. 


63  Cashmere  Goat. 

64  Musk  Ox. 

65  Cow. 

66  Zebu. 

67  Buffalo. 

68  Llama. 

69  Greenland  Whale. 

70  Porpoise. 


Class  XXI— Birds. 


TWENTY   SLIDES,  PER   SET,  $30.00. 

1  Condor. 

2  Harpy  Eagle. 

3  Virginian  Eared  Owl. 

4  Undulated  Parrot. 

5  Sappho  Comet  and  Crested  Hum- 

ming Bird. 

6  Kingfisher. 

7  Tailor  Bird. 

8  Mocking  Bird. 

9  Skylark. 

10  Blackbird. 

11  Baltimore  Oriole. 

12  Blue  Jays. 

13  Lyre  Bird. 

14  Royal  Bird  of  Paradise,  and  Blue 

Girl. 

15  Turkey. 

16  Ostrich. 

17  White  Stork. 

18  Flamingo. 

19  Domestic  Ducks. 

20  Pelican. 

ADDITIONAL    ILLUSTRATIONS, 
PER   SLIDE,    $2.00. 

21  Skeleton  of  a  Bird. 

22  Turkey  Buzzard. 

23  Gerfalcon. 

24  Imperial  Eagle. 

25  Bald  Eagle. 

26  Barn  Owl. 

27  Cockatoo. 


28  Toucan. 

29  Mexican  Trogon. 

30  Parrots. 

31  Woodpecker. 

32  Black-breasted  and  King  of  Hum- 

ming  Birds. 

33  Ruby-throated  Humming  Bird. 

34  Whippoorwill. 

35  Momotus  Ceruleiceps. 

36  Missel  Thrush. 

37  Bell  Bird. 

38  Blue  Bird. 

39  Scarlet  Tanager. 

40  Swallow. 

41  Great  Northern  Shrike. 

42  Rose-breasted  Grosbeak. 

43  Tree  Sparrow. 

44  Raven. 

45  Wild  Pigeon. 

46  Pheasant. 

47  Peacock  Pheasant. 

48  Ruffed  Grouse. 

49  Cassowary  and  Emu. 

50  Great  Bustard. 

51  Whale-headed  Stork. 

52  Sacred  Ibis. 

53  Snipe. 

54  Curlew. 

55  Bean  Goose. 

56  White  Swans. 

57  Mutton  Albatross. 

58  Great  Northern  Diver. 

59  Cormorant. 

60  Penguin. 


Class  XXII— Reptiles  and  Fishes. 

TWENTY   SLIDES,    PER    SET,    $30.00 

1  Green  Turtle.  6  Rattlesnake. 

2  Crocodile.  7  Viper. 

3  Alligator.  8  Cobra  di  Capello. 

4  Chameleon.  9  Bull  Frog. 

5  Boa  Constrictor.  10  Natterjack. 


39 


11  Perch. 

12  Mackerel. 

13  Sword  Fish. 

14  Dolphin. 

15  Fishing  Frog. 


16  Flying  Fish. 

17  Sea  Horse. 

18  Sturgeon. 

19  White  Shark. 

20  Topedo. 


Class  XXHI — Insects. 


TWENTY    SLIDES,  PER    SET,   $30.00. 

1  Buprestian  Beetles  (4  species). 

2  Harlequin  Beetles. 

3  Mole,  Cricket,  and  Cockroach. 

4  Katydids,    Locusts,    and    Grass- 

hopper. 

5  Chinese  Lantern  Fly. 

6  Bedbug. 

7  Dragon  Fly. 

8  Ant-lion,  and  Lace-winged  Fly, 

with  larva. 

9  Nymphalis  Dissippe,  with  larva 

and  chrysalis. 

10  Peacock    Butterfly,    with    larva 

and  chrysalis. 

11  Papillio  Turnus. 

12  Parsnip  Butterfly,  with  larva  and 

chrysalis. 

13  Erebe-strix. 

14  Five-spotted  Sphinx,  with  larva 

and  chrysalis. 

15  Honey  Bees— queen  worker  and 

drone,  with  comb. 

16  Mosquito  and  Eggs. 

17  Proboscis  of  Horse  Fly. 

18  Flea  (of  cat). 

19  Human  Louse. 

20  Walking  Stick. 

TEN  ILLUSTRATIONS   ON  THE 
HONEY  BEE. 

PER    SET,  $20.00. 

1  Queen,  Working  Bee,  Drone,  and 
Comb. 


2  Head  of  the  Worker. 

3  Abdomen  of  the  Worker. 

4  Structure  of  the  Eyes  of  a  Bee. 

5  Proboscis  of  the  Worker. 

6  Wing  and  Hind  Leg  of  Worker. 

7  Sting  of  Worker. 

8  Digestive,  Respiratory,  and  Ner- 

vous System  of  Bee. 

9  Larva  and  Pupa  of  Worker. 
10  Home  of  the  Bees. 

INSECT  METAMORPHOSIS. 

Showing  the  different  stages  of  Transfor- 
mations, with  beautiful  landscapes. 
PER    SLIDE,    $2.50. 

1  Papillio  Machaon. 

2  Vannessa  lo. 

3  Attacus  Lunar. 

4  Teigne  tapezella. 

5  Vespa  Sylvestris. 

6  Anthophora  Personata. 

7  Melontha  Vulgaris. 

8  Lucanus  Cervus. 

9  Hydrophilus  Piceus. 

10  Dysticus  Marginalis. 

11  Cicindela  Campestris. 

12  Calandra  Palmarum. 

13  Phyllium  Siccifolium. 

14  Locusta  Vividissima. 

15  Gryllotalpa  Vulgaris. 

16  Jilschna  Maculatissima. 

17  Cicada  Fraxini. 

18  Calliphora  vomitoria  and  Sarco- 

phaga  Carnaria. 

19  Stratiomys  Chamaeleo. 

20  Eristalis  tenax. 


Class  XXIV— Arachnida,  Crustacea,  et  Ccetera. 

PER    SLIDE,    $2.50. 

SPIDERS,  ARACHNIDA. 


1  Lycosa  tarentula. 

2  Theridion  aphane. 


3  Epeira  diaderna,  cornuta,  angu- 

lata,  and  bicornis. 

4  Scorpion  (from  Texas). 

5  Cheese  Mite. 

6  Itch  acarus. 


40 


CRUSTACEA. 

1  Bernard  Hermit  Crab. 

2  Lobster. 

3  Parthenope  Horida. 

4  American  Edible  Crab. 
6  Ranine  Dentata. 

6  Pychnognon  Littorale. 

ENTOMOSTRACANS. 

1  Barnacles. 

2  Limulus  Longispinus. 

3  Daphinia   Pulex    (male   and   fe- 

male) . 

4  Cyclops  Quadricornis. 

5  Water  Fleas,  various  kinds. 

6  Fairy  Shrimp,  Chirocephalus. 

MOLLUSCA. 

1  Paper  Nautilus. 

2  Octopus  or  Poulpe. 

3  Sepia  Officinalis. 

4  Pearly  Nautilus. 


5  Pteroceras  Aporrhais  and  Strom- 

bus. 

6  Murex   Tenuispina   and   Pyrula 

canaliculata. 

7  Harp  Shell. 

8  Mitra  Episcopalis  and  Papalis. 

9  Cypraea. 

10  Turritella,  Soalaria,  and  Verme- 

tus. 

11  Helix  Albolabris. 

12  Pecten    Irradians   and    Mytilua 

Edulis. 

RADIATA. 

1  Holothuria,  or  Sea  Cucumber. 

2  Sea  Urchin. 

3  Star  Fish. 

JELLY  FISH,  OR  AOALEPHS. 

1  Pelagia  Noctiluca. 

2  Cyanea  Euplocamia. 

3  Physalia  Arethusa. 


Clasa  XXV— Botany. 


VEGETABLE  ANATOMY. 

TWENTY   SLIDES,  PER   SET,  $30.00. 

1  Vertical  section  of  extremity  of 

Root  (highly  magnified) . 

2  Section  of  Leaf,  White  Lily  and 

Oleander  (highly  magnified). 

3  Section  of  Coniferous  Wood,  and 

Glands  (highly  magnified) . 

4  Longitudinal  section  of  portion 

of  Stem  and  Spiral  Vessels. 

5  Lactiferous  vessels  of  Celandine 

and  Fisus  elastica. 

6  A  Sting  of  the  Nettle,  showing 

circulation  of  Sap. 

7  (1)  Air  cells   from  stem  Limno- 

charis  Plumieri :  (2)  ditto, 
showing  open  passages  at  an- 
gles of  cells:  (3)  Epidermis 
of  Oncidium  altissimum:  (4) 
Stomata  of  Croton  variegatum. 

8  Section  of  Ehn  Branch. 

9  Section  of  Ash  Branch. 

10  Transverse  and  vertical  section  of 

Negundo,  a  year  ago. 

11  Section  of  Fern  Stem  and  Scala- 

riform  tissue. 


12  Polleen  Grains  (six  varieties). 

13  Polleen  Masses  (Orchis,  Plantan- 

thera,  and  Asclepias). 

14  Starch   Grains   (Potato,  Wheat, 

and  Maize  in  cells) . 

15  Vertical   section   of    Stigma    of 

Ditura. 

16  Conducting  tissue  in  Stigma  of 

Ditura. 

17  Section  of  Ovule  of  Polygonum 

before  and  after  fecundation. 

18  Germination  of  Fern  Spore. 

19  Fern  and  Sporangia. 

20  Spores  and  Sporidia  of  diseased 

grain  of  Wheat. 

BOTANICAL  ILLUSTRATIONS. 

TWENTY    SLIDES,  PER    SET,   $30  00. 

1  Parts  of  a  plant. 

2  Germination. 

3  Roots. 

4  Buds  and  Leaves. 

5  Flowers  and  Inflorescence. 

6  Stamens  and  Pistils. 

7  Exogenous  Structure. 

8  Crowfoot  Family,  Columbine,  Ac. 


41 


9  Pink  Family. 

10  Tobacco. 

11  Clover. 

12  Apple. 

13  Rose. 

14  Melon. 


15  Composite  Family,  Chicory  and 

Calliopsis. 

16  Oak. 

17  Fir  and  Hemlock  Spruce. 

18  Endogenous  Structure. 

19  Date  Palm. 

20  White  Garden  Lily. 


Class  XXVI — Flowers  and  Plants. 

Skeleton  leaves  are  very  beautiful  when  thrown  upon  the  screen,  and  even  ordinary 
leaves,  petals,  &c.,  show  very  well. 


TWENTY   SLIDES,   PER   SET,  $00.00. 

1  The  White  Lily. 

2  Lily  of  the  Valley. 

3  Holly. 

4  Boursalt  Eose. 

5  Fuschia. 

6  Amaryllis  Johnsoni. 

7  Dahlia  Variabilis. 

8  Strawberry,  Flower  and  Fruit. 

9  Camilla  Japonica. 

10  Oleander. 

11  Magnolia  and  Passion  Flower. 

12  Chrysanthemum. 

13  Venus'  Fly  Trap. 

14  Peony. 

15  Japanese  White  Lily. 

16  Fruit  Piece. 

17  Nasturtion. 

18  Violets. 

19  "Consider    the    Lilies,"     (with 

text). 

20  White  Pond  Lily. 

PER   SLIDE,  $2.00. 

21  Sarracenia  Purpurea. 

22  Pelargonium. 

23  Almond,  Flower  and  Fruit. 

24  Pomegranate. 

25  Figs  and  Olives. 

26  Rose. 

27  Bunch  of  Roses. 

28  Rudbekia  Speciosa,  Antirrhinum 

majus,  Lilium  Lancifolium. 

29  Pine  Apple. 

30  Scarlet  Geranium. 

31  Cattleya  Superba. 


32  Figs. 

33  Cactus  Triangulaire  and    Gayac 

Officinale. 

34  Rose  and  Buds. 

35  Citrus  Aurantium. 

36  Bunch  of  Fruit. 

37  Stock  Gillyflower. 

38  Blackberry. 

39  Passion  Flower. 

40  Viburnum  Opulus  and  Mespilus 

Germanica 

41  Wellingtonia  Gigantea. 

42  Cactus  (six-sided). 

43  Hyacinth. 

44  Tulip. 

45  The  Banyan  Tree. 

46  Wreath  of  Flowers. 

47  Clover. 

48  Tobacco  Plant. 

49  The  Date  Palm. 

50  Mountain  Vegetation  of  Java. 


IMPORTANT    PLANTS  USEFUL  TO  MAN. 

51  Black  Pepper — Piper  nigrum. 

52  Cinnamon — Laurus  cinnamo- 

muin. 

53  Nutmeg—  Myristica  moschata. 

54  Clove — Caryophyllus  aromaticus 

55  Coffee— Coffea  Arabica. 

56  Tea — Thea  Bohea  and  viridis. 

57  Cocoa — Theobroma  Cacao. 

58  Vanilla — Vanilla  aromaticus. 

59  Opium   Poppy — Papaver  pomni- 

ferum. 

60  Peruvian    Bark — Cinchona    cor- 

difolia. 


42 


Class  XXVH— Physical  Geography. 


From  the  best  authority 


PER    SLIDE,   $2.50. 


1  Forms  of  Snow  Crystals. 

2  Glacier  in  Western  Norway. 

3  Niagara. 

4  Great  Fall— Yosemite. 

5  Canon. 

G  Coral  Reef. 

7  \Vater  Spout. 

8  Group  of  Palms. 

9  African  Scene. 

10  Tropical  Vegetation. 

11  Banian  Tree. 

12  Varieties    and    Distribution     of 

Man. 

ILLUSTRATIONS    TO    HUMBOLDT'S 
COSMOS. 

13  Aurora  Borealis. 

14  Midnight  Sun  at  the  North  Cape. 


15  Plutonic  Rocks, Hartz  Mountains, 

Germany. 

16  Plutonic    Bocks.        Rock    laby- 

rinths, near  Baden. 

17  Primary  Rocks.    Burning  Moun- 

tain, near  Duttwelles. 

18  Primary    Rocks.        The    Lurley 

Rock,  on  the  Rhine. 

19  Volcanic    Rocks.        Isola    della 

Frizza. 

20  Secondary  Rocks.     The  Rock  of 

Gibraltar. 

21  Secondary  Rocks.     Chalk  Moun- 

tains in  Dorsetshire. 

22  Secondary    Rocks.       The    Biel- 

grund,  near  Dresden. 

23  Tertiary  Rocks.     Tivoli. 

24  Alluvial  and  Diluvial  Deposits. 

The  Valley  of  the  Nile. 


Class  XXVin — Astronomy. 


FORTY-ONE   PAINTINGS,    ON    TWELVE 
LONG    SLIDES. 

PER    SET,   $25.00. 
Packed  in  a  box,  with  descriptive  book. 

1  The    Earth's    Rotundity    (lever 

movable). 

2  New  Moon. 

3  New  Moon.     First  Quarter. 

4  Full  Moon. 

5  The  Moon's  Phases. 

G  Telescopic  View  of  the  Sun. 

7  Telescopic  View  of  Mercury. 

8  Telescopic  View  of  Venus. 

9  The  Earth  and  Moon. 


10  Telescopic  View  of  Marc. 

11  Telescopic  View  of  Vesta,  Juno, 

Ceres  and  Pallas. 

12  Telescopic  View  of  Jupiter  and 

his  Moons. 

13  Telescopic  View   of  Saturn   and 

his  Moons. 

14  Telescopic  View  of  Saturn  with 

rings  edgewise  and  his  Moons. 

15  Telescopic  View  of  Uranus  and 

his  Moons. 

16  Orbit  of  a  Comet. 

17  Comet  of  1819. 

18  Comet  of  1811. 

19  Comet  of  1860. 

20  Solar  System  of  Ptolemy. 

21  Solar  System  of  Copernicus. 


43 


22  Solar  System  of  Tycho  Brahe. 

23  Solar  System  of  Newton. 
24,  25  The  Sun's  Magnitude. 
26  Eclipse  of  the  Moon. 

27,  28  Eclipse  of  the  Sun. 

29  The  Moon's  Orbit. 

30  Different  Eclipses  of  the  Moon. 

31  The  Seasons. 

32  The  Zodiac. 

33  Spring  Tide  at  New  Moon. 

34  Spring  Tide  at  Full  Moon. 

35  Neap  Tide. 

36,  37  Constellation  Ursa  Major. 
38,  39  Constellation  Orion. 

40  The  Milky  Way. 

41  Nebulae. 


XOVABLE  DIAGRAMS. 
The  motion  produced  by  rack-work. 
TEN    SLIDES,    PER    SET,    $40.00. 
Packed  in  a  box,  with  lock  and  key. 

1  The    Solar  System,  showing  the 

Revolution  of  all  the  Planets, 
with  their  Satellites,  round  the 
Sun. 

2  The     Earth's     Annual     Motion 

round  the  Sun,  showing  the 
Parallelism  of  its  axis,  thus 
producing  the  Seasons. 

3  The  Cause  of  Spring  and  Neap 

Tides,  and  the  Moon's  Phases, 
during  its  revolution. 

4  The  Apparent  Direct  and  Retro- 

grade Motion  of  Venus  or  Mer- 
cury, and  also  its  Stationary 
appearance. 

5  The  Earth's    Rotundity,  proved 

by  a  Ship  sailing  round  the 
Globe,  and  a  line  drawn  from 
the  eye  of  an  observer  placed 
on  an  eminence. 

6  The   Eccentric   Revolution  of   a 

Comet  round  the  Sun,  and  the 
appearance  of  its  Tail  at  dif- 
ferent points  of  its  Orbit. 

7  The  Diurnal  Motion  of  the  Earth, 

showing  the  Rising  and  Setting 
of  the  Sun,  illustrating  the 
cause  of  Day  and  Night,  by 
the  Earth's  rotation  upon  H* 
Axis. 


8  The  Annual  Motion  of  tho  Earth 

round  the  Sun,  with  tho 
Monthly  Lunations  of  the 
Moon. 

9  The  Various  Eclipses  of  the  Sun 

with  the  Transit  of  Venus  ;  the 
Sun  appears  as  seen  through  a 
Telescope. 

10  The  various  Eclipses  of  the 
Moon ;  the  Moon  appears  as 
seen  through  a  Telescope. 

Illustrating  the  Moon.  Its  Topography, 
Scenery,  &c.,  with  a  Familiar  Descriptive 
Lecture. 

TEN  SLIDES,   PER  SET,  $15  00. 

1  Map   of  the    Moon.      (Beer   and 

Madler.) 

2  Diagram  illustrating  Refraction. 

3  The   Earth,    as    seen    from     the 

Moon. 

4  Telescopic  View  of  the  Full  Moon 

5  Telescopic    View   of   the    Moon, 

first  quarter. 

6  Telescopic    View    of   the    Moon, 

last  quarter. 

7  Telescopic   View    of  the    Moon, 

past  last  octant. 

8  Environs  of  Tycho  (from  a  Pho- 

tograph by  W.  de  la  Rue). 

9  Region  S.  E.  of  Tycho. 

10  View  of  Copernicus  (Naysmith). 

TWENTY  SLIDES,  PER  SET,  $30.00. 

1  Solar  System. 

2  Phases  and  Apparent  Dimensions 

of  Venus  at  its  extreme  and 
mean  distance  from  the  Earth. 

3  Inclination  of  the   Axis   of  the 

Planets — Venus,  Earth,  Mars, 
Jupiter,  and  {Saturn. 

4  Diagram  illustrating  Refraction. 

5  Parallels,  Meridians,  and  Zones. 

6  True  and  mean  Place  of  a  Planet 

in  its  Orbit. 

7  Signs  of  the  Zodiac. 

8  Telescopic  View  of  the  Full  Moon 

9  Telescopic  View  of  the  Moon  past 

the  last  Quarter. 

10  Cause  of  the  Moon's  Phases. 

11  Mountains  on  the  Moon. 

12  Inclination  of  the  Moon's  Orbit 


44 


13  Diagram  to  explain  Eclipses. 

14  Illustration  of  the  Tides. 

15  Telescopic  View  of  Mars. 

16  Telescopic  View  of  Jupiter. 

17  Telescopic  View  of  Saturn. 

18  Comet  of  1811. 

19  Comparative  Size  of  the  Sun  and 

Planets. 

20  Star  Cluster  of  Resolvable  Neb- 

ulae. 

PER  SLIDE,  $2.00. 

21  Bird's-eye  View  of  Saturn  and 

its  ring  system. 

22  Saturn,  luminous   points  visible 

near  the  period  of  the  disap- 
pearance of  the  rings. 

23  Telescopic  View  of  Saturn. 

24  Comparative  size  of  Saturn  and 

the  Earth. 

25  Telescopic  View  of  the  Moon,  a 

little  before  last  quarter. 

26  Telescopic    View   of  the   Moon, 

just  before  the  full. 

27  Scenery  on  the  Moon. 

28  Mountains  of  the  Moon  ;  view  of 

the  region  southeast  of  Tycho. 

29  Comparative    size  /of    Sun,    the 

Earth  and  Moon^s  Orbit. 


30  Eclipses    and    passages   of    the 

Satellites  of  Jupiter,  seen  from 
the  Earth. 

31  Parallax. 

32  Direct  and  retrograde  motion  of 

Mercury  and  Venus. 

33  The   apparent    size   of   the    Sun 

seen  from  the  principal  Planet. 

34  Egyptian  Zodiac. 

35  The  Micrometer. 

36  Discovery  of  a   small  Planet  by 

means  of  Ecliptic  Charts. 

37  Ecliptic  Chart.     From  M.  Cha- 

cornac's  "  Star  Atlas." 

38  Herschel's  40  feet  Telescope. 

39  Measure   of  the   distance  of  an 

inaccessible  object. 

40  Deformation  of  the  Sun's  limb  at 

sunset. 

41  Convexity  of  the  Ocean. 

42  Solar    Cyclone,    May    5,    1857. 

(Secchi.) 

43  Donati's  Comet. 

44  Spiral  Nebulae  in  Virgo.  (Rosso.) 

45  Nebulae  in  Andromeda. 

46  Elliptical  annular  nebula  of  the 

Lion.     (Herschel.) 

47  Spiral  Nebulae  in  Canes  Venatici. 

(Rosse.) 

48  Lunar  Crater. 


Class  XXIX— Geology. 


TWENTY    SLIDES,  PER    SET,   $30.00. 

1  The  Geological  Record. 

2  Ideal    Section     of    the    Earth's 

Crust. 

3  Thickness  of  the  Earth's  Crust. 

4  Section  of  a  Volcano  in  action. 

5  Fingal's  Cave. 

6  Grotto  of  Antiparos. 

7  Glacier— Mt.  Rose. 

8  Glacier  Tables. 

9  Coral  Island. 

10  Corals. 

11  Rain  Drop  Marks. 

12  Trilobites. 

13  Ammonites. 

14  Pterichthys — Cocostes,  Cephalas- 

pis. 

15  Fossil  Fern — impression  of. 

16  A  Thrust— in  a  Coal  Mine. 


17  Ichthyosaurus. 

18  Pterodactyl. 

19  Fossil  Footmarks. 

20  The  Mammoth  Restored. 

PER  SLIDE,  $2.00. 

21  Skeleton  of  Megatherium. 

22  Sigillaria. 

23  Lepidodendron. 

24  Tracks  (the  Stone  Books). 

25  Bone  Cavern,  Wirksworth,  Eng. 

26  Skeleton  of  HydrarchosIIurlanii. 

27  Pentacrinites  Briareus. 

28  Apiocrinites  and  Actinocrinites. 

29  Forest  of  the  Coal  Period. 

30  Dinornis  Mantelii. 

31  Foraminifera      (from      Atlantie 

soundings). 

32  Lava  Arch,  Iceland. 


45 


33  Section  of  the  Cavern  of  Gailen- 

reuth  (Hartz.) 

34  Sandstone   Columns  in  Switzer- 

land. 

35  Skull  of  Mosasaurus. 


30  Temple  of  Serapis  (Pozzuolo). 

37  The  Dodo  (an  extinct  bird.) 

38  Convoluted  Strata. 

39  Skeleton  of  Ichthyosaurus. 

40  Diplacanthus  Striatus. 


Class  XXX — Natural  Phenomena. 

TWENTY   SLIDES,   PER  SET,   $45.00. 


1  Rainbow. 

2  Tempest. 

3  Aurora  Borealis. 

4  Ilatos. 

5  Fata  Morgana. 

6  Will  of  the  Wisp. 

7  Water  Spouts. 

8  Sand  Storm. 

9  Geysers. 

10  Palls  of  Niagara. 


11  Drooping  Well. 

12  Coral  Reefs. 

13  Caverns. 

14  Fingal's  Cave. 

15  Perforated  Rocks. 

16  Glacier,  Mt.  Rose.' 

17  Glacier  Tables. 

18  Icebergs. 

19  Volcanos. 

20  Prairie  on  Fire. 


Class  XXXI — Anatomy  and  Physiology. 

TWENTY    SLIDES,   PER    SET,   $30.00. 


1  Human  Skeleton. 

2  Human  Skull. 

3  Section  of  the  Spine,  <fcc. 

4  Teeth,  and  structure  of  same. 

5  Muscles,  front  view. 

6  Muscles,  back  view. 

7  Muscles  of  the  head,  neck,  and 

face. 

8  General   view    of   the   Digestive 

Organs,  in  place. 

9  The  Digestive  Organs. 


10  The   Stomach,  Liver,  and  Pan- 

creas. 

11  The  Thoracic  Duct. 

12  Heart  and  Lungs. 

13  Diagram  of  Circulation.      £ 

14  Skin  and  structure  of  same. 

15  Brain  and  Spinal  Cord. 

16  General  view  of  the  Nerves. 

17  Fifth  Pair  of  Nerves. 

18  Facial  Nerves. 

19  Diagram  of  the  Eye. 

20  Anatomy  of  the  Ear. 


A  set  of  22  slides  on  Anatomy,  copied  from  22  plates  in  Iconographic 
Encyclopedia  (from  plate  119  to  plate  140  inclusive),  on  glass  three  laches 
square.  These,  and  illustrations  of  which  we  have  the  negatives,  will  be 
furnished  at  $2.50  each.  Illustrations  of  which  the  negatives  must  be 
made  to  order,  will  be  furnished  at  $3  each. 


Class  XXXII— Microscopic  Anatomy. 

TWENTY    SLIDES,  PER    SET,  $30.00. 


1  Tessellated  and  Ciliated  Epithe- 

lial Cells. 

2  Human  Blood  Discs,  and  Blood 

Discs  of  Frog. 


3  Longitudinal  and  transverse  sec- 
tions of  Bone,  Lacunae,  and 
Canaliculi,  highly  magnified. 


46 


4  Muscular  Fibres,  Fasciculus,  and 

Sarcolemma. 

5  Vertical   and  horizontal  section 

of  Stomach,  Follicles,  and 
Tubes. 

6  (A)     Capillary     Circulation     of 

Frog's  Foot;  (B)  Capillaries 
of  Air  Cells  of  Human  Lungs  ; 
(C)  Capillaries  of  Villi  of  the 
Jejunum. 

7  Origin  of  Hepatic  Veins  and  Bile 

Ducts  of  the  Liver  Lobules. 

8  A  Human  Malpighian  Corpuscle 

and  transverse  section  of  Su- 
pra-renal Capsule. 

9  Nerve  Tubes,  Cells,  and  Ganglia. 
10  Transverse'    section     of    Human 

Spinal  .Cord,  close  to  the  third 
and  fourth  Cervical  Nerves. 


11  Pus;  (A)  from  Abscess ;  (B)  Mu- 

cus Corpuscles  from  Schnei- 
derian  Membrane  ;  (C)  Mucus 
Corpuscles  speckled  •with  Pig- 
ment Granules  from  Larynx. 

12  Urinary     Deposits;       (A)     Uric 

Acid  ;  (B)  Oxalate  of  Lime  ; 
(C)  Triple  Phosphate. 

13  Fatty  Degeneration  of  the  Liver. 

14  Tubercle;    (A)    in  Air   Cells    of 

Lungs ;   (B)  Miliary. 

15  Scirrhous    Growth    from    Mam- 

mary Gland. 

16  Taenia  Solium. 

17  Oxyuris  Solium. 

18  Trichina  Spiralis,  mature  and  in 

cyst. 

19  Liver  Fluke,  Distoma  hepatic  um. 

20  Thrush   Fungus,    Oidiiim    albi- 


Class  XXXIII — Optics. 

TWENTY  SLIDES,   PER    SET,  $30.00. 


1  Reflection  of  Light. 

2  Formation   of   Image   by  Plane 

Mirror. 

3  Foci  of  Concave  Mirrors. 

4  Formation  of  Image  by  Concave 

Mirror. 

5  Do.  by  Convex  Mirror. 

6  Refraction  of  Light. 

7  Laws  of  Refraction  and  total  Re- 

flection. 

8  Refraction  in  Body  with  Parallel 

Sides. 

9  Forms  of  Lenses. 

10  Formation  of  Image  by  Convex 
Lens. 


11  Formation  of  Image  by  Convex 

Lenses. 

12  Do.  by  Concave  Lens. 

13  Spherical  Aberration. 

14  Action  of  Prism — Chromatic  Dis- 

persion. 

15  Chromatic  Aberration — Achrom- 

atic Prism  and  Lens. 

1 6  Diagram  to  explainWavo  Lenn;thi 

17  Double  Refraction — Iceland  Spai 

— Nichol  Prism. 

18  Polariscope,  &c. 

19  Colored  Rings  in  Uniaxial  Crys- 

tals  with  Polarized  Li.^ht. 

20  Do.  in  Unannealed  Glass  Cube. 


Class  XXXIV— The  Microscope  and  its  Revelations. 


SLIDES,  PER    SET,   $30.00. 


1  Tolle's  Student's  Microscope. 

2  Collins'  Binocular  Microscope. 

3  Diagrams.       No.    1.     Compound 

Microscope.  2.  Huyghenian 
Eyepiece.  3.  Ramsden  Eye- 
piece. 4.  Chromatic  Aberra- 
tion. 


4  Diagrams.    No.  1.  Simple  Micro 

scope.  2.  Spherical  Aberra 
tion.  3.  Diaphragm.  4.  Ach> 
romatio  Objective.  5.  Hi^h. 
and  Low  Angle  of  Aperture. 

5  Sheep  Tick. 

6  Human  Head  Louse. 

7  Dog  Flea. 

8  Larva  of  Mosquito. 


47 


9  Head  of  Male  Mosquito. 

10  Leg  of  Blow  Fly. 

1 1  Eye  of  Horse  Fly. 

12  Portion  of  Wing  of  House  Fly. 

13  Scales  from  Wing  of  Moth. 

14  Wool  Fibres. 

15  Section  of  Wheat  Straw. 

16  Heliopeltea. 

17  Fine    Muslin — showing     Cotton 

Fibre. 

18  Foot  of  Fly— showing  Structure 

of  Pads. 

19  Proboscis     of    Fly — Anthromya 

Lardaria. 

20  Saws  of  Saw  Fly. 

Additional   Photographs   of    Microscopic 
Objects  enlarged  from  Nature. 

PER   SLIDE,   $2.00. 

21  The  Human  Louse. 

22  The  Crab  Louse. 

23  The  Bedbug. 

24  The  Flea. 

25  The  Fly. 

26  Marine  Algae. 

27  Hunting  Spider. 

28  Parasite  of  Chicken. 

29  The  Common  Mosquito. 


30  Eye  of  Fly. 

31  Sting  of  Bee. 

32  Human  Itch  Insect. 

33  Tongue  of  a  Hornet. 

34  Tongue  of  a  Bee. 

35  Parasite  from  a  Fig. 

36  Parasite  from  a  Sparrow. 

37  Scale  from  the  Wing  of  a  Butter- 

fly. 

38  Parasite  of  a  Beetle. 

39  Parasite  of  a  Chaffinch. 

40  Parasite  of  a  Field  Mouse. 

41  Parasite  of  a  Swallow. 

42  Parasite  of  a  Mole. 

43  Flea  of  a  Mole. 

44  Flea  of  a  Mole  Pigeon. 

45  Eye  of  a  Beetle. 

46  Gizzard  of  a  Cricket. 

47  Water  Beetle. 

48  Leaf  Insect. 

49  Scale  from  the  Wing  of  a  Moth. 

50  Saw  of  the  Saw  Fly. 

51  Spiracle  of  a  Cockchafer. 

52  Tongue  of  a  Drone  Fly. 

53  Trachea  of  a  Silk  Worm. 

54  Tongue  of  a  Hornet. 

55  Transverse  Section  of  Bono. 

56  Scale  of  a  Fish. 

57  Human  Blood  Corpuscles 

58  Section  of  a  Tooth. 


Class  XXXV— Crystallography, 

Arranged  as  in  Ros«oe'a  Chemistry. 
TEN    SLIDES,    PER    SET,    $15.00. 


1  The   Primary  Forms  of   the  Six 

Systems. 

2  Secondary  Forms  of  the  First  or 

Regular  System. 

3  Secondary  Forms  of  the  Second 

or  Quadratic  System. 

4  Secondary  Forms  of  the  Third  or 

Hexagonal  System. 


5  Secondary  Forms  of  the  Fourth 

or  Rhombic  System. 

6  Secondary  Forms  of  the  Fifth  or 

Monoclinic  System. 

7  Secondary  Forms  of  the  Sixth  or 

Triclinic  System. 

8  Ice  Flowers  (Tyndall). 

9  Snow  Crystals. 
10  Ice  Crystals. 


Class  XXXVI — Spectrum  Analysis. 

TWENTY    SLIDES,  EACH,  $2.75. 


1  Decomposition  of  Light  by  Prisin 

(Solar  Spectrum). 

2  Comparative  Intensity  of  Heat- 

ing Luminous  and  Chemically 
Active  Rays  in  Spectrum. 


3  Fraunhofer's  Map  of  Solar  Spec- 

trum.    (1814-15.) 

4  The  Spectroscope. 

5  Spectra  of  the  Sun,  Beta  Cygni, 

and  Hydrogen. 


6  Spectra  of  Potassium,  Rubid- 

ium, Sodium,  and  Lithium. 

7  Spectra  of  Carbou   Comet  II, 

Brorsen's  Comet  (18o8),  Spans 
and  Nebuife.          s\ 

8  Spectra  of  Aldebarfp,  and  Al- 

pha Orionls.          ' x    *~3f 

9  Kirch  off 's  Map  (from  194  to  220) 

and  Rutherford's  Photograph 

of  same. 

5      10  Spectra  of  Chlorophyll.  Chlo- 
"Jg  ride  of  Uranium,   Magema, 

and  Blood. 

11  Ga^siot's  Spectroscope.    Made 

by  Browning. 

12  Huiigtn's     Map     of     Metallic 

Lines,  from  320  to  279  j. 


13  Huggin's     Map     of     Metallic 
\      Lines,  from  2790  to  5250.      r    rt, 
14NHuggin'8  Star  Spectroscope:?-  •> 

15  Map  of  Solar  Spectrum,  from    'U 

:ss  to  163. 

16  Map  of  Solar  Spectrum,  from 

102 !  o  287. 

17  Map  of  S  >lar  Spectrum,  from 

!i"3  to  4U6. 

18  CoincideHce   of   Spectrum    of 

Irou  with  65  of  the  Fraun- 
hofer  Lines. 

19  Spectra  of  the  Sun,  Chromo-  c 

sphere  Prominences  aad  Cor-  J 
ona. 

20  The  Atmospheric  Lines.        /  ^  J 


N 


Class  XXXVII.    Geological  Landscapes,  etc. 


PER  SLIDE,   $2.50. 


1  Silurian  Period. 

2  Devonion  Period 

3  Transition  Period. 

4  Carboniferous  Period. 

5  Forest  of  Coal  Period. 

6  Permian  Period. 

7  Tnassic  Period. 

8  Conchylian  Sub-Period. 

9  SaliferouN  Period. 

li»  Lower  Oolito  Period. 

11  Lower  Cretaceous  Period. 

12  Cretaceous  Period. 

13  Eocene  Pe'iod. 

14  Miocene  Period. 

15  Drift  Period. 

16  Recent  Period. 


EXTINCT  ANIMALS. 
From  Originals  by  TVaterhouse  Hawkins. 

1  Plesiosaurus,Teleosaurus.  Tcb- 

thyosaurus,  I'e  itxcrinitt-s, 
Ammonites  Gryphaea. 

2  Megalosaurus,  Pterodactyle. 

3  Iquanndnn,  Hylseosaurus. 

4  Anoplot berium  Com  mn  n  e, 

Anoplo'herium  Graciie,  Pa- 
Ijeotherium. 

5  M-Katherium  Glyptodon. 

6  Elephas  PrimigeneouB,   Hyae- 

na Speleea,  Hippopotamus 
Major,  Ursus  Spelseus,  Mach- 
airodus  Latidens. 


Class  XXXVIII.    Society  Emblems. 

The  Oil  Scioplicon,  with  tlie  improved  and  enlarged  society  slides 
now  used  with  it,  renders  the  projected  emblems  remarkably  vigorous 
and  impressive.  Special  slides  will  be  made  to  order  from  furnished 
d<  -signs  f^r  $3.00  ear* h. 

We  are  well  prepared  to  furnish  slides  suitable  for  social  entertain- 
ments, which  in  many  cases  greatly  increase  the  usefulness  of  <* 
society  outfit. 

KNIGHTS  TEMPLAR. 

PER  SLIDE,  $2.50. 


FIRST  PART. 

1  Monument. 

2  The  Three  Marys  at  the  Sepul- 

chre. 

3  The  Ascension. 

SECOXD  PART. 

4  Resurrec'ion  of  Lazarus. 
6  The  Crucifixion. 

6  IVsce   t  into  the  Grave. 

7  The  Resurrection. 


8  The  Cross. 

9  Pilgrim. 

10  Wan  ior. 

11  Penitent. 

12  Christ  on  the  Cross. 

13  Angel  of  Death. 

14  Skull. 

15  John's  Vision. 

16  Faith. 

17  Cross  and  Crown. 


49 


BLUE  LODGE. 

OTCF  100  Emblems,  on  30  Glass  Slides. 
PER  SET,  $10.00. 

Arranged  in  accordance  with  the  American  System  of  Lectures,  in 
the  degrees  of  Entered  Apprentice,  Fellow  Craft,  and  Master  Mason. 


THE  PRINCIPAL  LODGE  EMBLEMS. 

On  25  Colored  Sealed  Slides. 
PER  SET,  §60.00 

This  series  is  the  finest  made,  and  is  in  use  in  the  leading  lodges. 
My  negatives  are  from  authorized  drawings,  gotten  up  at  great  expense, 
and  the  slides  are  colored  and  mounted  in  the  best  style. 


ODD  FELLOWS. 

30  Emblems,  on  4  Glass  Slides. 
PER  SET,  $2.00. 

1  The  Great  Commission.    The  All-Seeing  Eye.    Globe  in  Clouds. 

Sun  of  Righteousness.    Three  Links.   Heart  and  Hand.  Industry. 
Shepherd.    Skeleton  in  Coffin. 

2  Moses' Rod.    Brazen  Serpent.    Justice.    Coffin.   Budding  Rod.   Ark 

and  Dove.    Horn  of  Plenty.    Sun,  Moon,  and  Seven  Stars. 

3  Covenant.    Bow  and  Quiver.    Bundle  of  Rods.    Ark  of  the  Cove- 

nant.   Bow  in  the  Clouds. 

4  Smiting  the  Rock.    Meeting  Rebekah.    Bible  and  Altar.    Coming 

Down  from  the  Mount.    Aaron.    Thomas  Wildie. 

I.  O.  O.  F.  ENCAMPMENT, 

24  Slides. 
PER  SET,   89.00. 

TEMPLE  OF  HONOR. 

8  Slides. 
PER  SET,  $20.00. 

5  Open  Grave. 

6  Closed  Grave. 

7  Rainbow. 

8  Flash  of  Lightning. 

THE  TRUE  TEMPLE 
is  a  variation  from  the  above,  but  is  similar  in  style  and  price. 


1  Five-pointed  Star. 
'J  Six-pointed  Star. 
3  Star  and  Triangle. 
i  Temple  of  Honor. 


UNITED  AMERICAN  MECHANICS. 

PER  SLIDE,  §2,50. 


50 


Class   XXXIX.     Dissolving   Effects,  for    Two   Lanterns. 


(SUPPLEMENT 

1  St.  Goar  on  the  Rhine.  I 

Two  Slides $10.50 

Landscape  at  night.  Clouds' 
passing.  The  moon  sometimes , 
appears  and  il  uminates  the 
landscape  and  buildings. 

2  Icebergs  in  the  Northern  Sea. 

Two  slides $7.00 

The    ice   is   seen    moved    by 
the  tide;  a  ship  is  seen  being 
wrecked  by  the  iceberg. 
8    The  Highlander's  Dream. 

Two  Slides $5.00 

A  Highland  Soldier  asleep  by 
his  ramp  fire.  Vision  of  his 
return  tothe  Joved  ones  at  home 
appears  in  the  smoke  of  the 
camp  fire. 

"Our  bugles  sang  truce,   for   the  night 

cloud  hail  lowered, 
And  the  seutiuel  stars  set  their  watch 

in  the  sky; 
And  thousands  had  sunk  on  the  ground, 

overpowered, 
The  weary  to  sleep  and  the  wounded  to 

die. 
When  reposing  that  night  ou  my  pallet 

of  .straw, 
By  thu  wolf-scaring  fagot  that  guarded 

the  slain, 
At  the  (lead  of  the  night  a  sweet  vision  1 

saw, 

And  thrice  ere  the  morning  I  dream't 
it  again. 

(The  Vision  is  made  to  ap- 
pi  ar  faintly.) 

"  Methought  from  the  battle-field's  dreadful 

array, 
Far,  far  had  I  roamed,  on  a   desolate 

track  ; 
T'was  autumn — and  sunshine  arose  on 

the  way 

To  the  home  of  my  fathers,  that  wel- 
comed me  back. 

(The  Vision  is  made  very  bril- 
liant.) 

•I  flew  to  the  pleasant  fields   traversed 

so  oft, 
In  life's    morning   march,    when    my 

bosom  was  young. 
I  heard  my  own  mountain-goats  bleating 

aloft, 

And  knew  the  sweet  strain  that  the 
corn-readers  sung. 

"Then  pledged  we  the  wine-cup,  and  fondly 

1  swore 
From  my  home  and  my  weeping  friends 

never  to  part; 
My   little  ones    kissed    me    a   thousand 

times  o'er. 
And  my  wife  sobbed  aloud  in  fuliuess  of 

heart — 
"Stay,  stay  with  us — rest,  thou  art  weary 

and  worn; 

And  fain  was  their  war-broken  soldier 
to  stay ; 


TO  CLASS  xi.) 

But  sorrow  returned  with  the  dawning  of 

lurrn, 

And   the  voicfl    in  my  dreaming    ear 
melted  away." 

(The  Vision  vanishes  away.) 
4    Washington's  Dream. 

Two  Slides $1.00 

Washington, 'tired  -with  the 
day's  cares,  preparing  de- 
spatches by  candle  light,  in  his 
camp  at  Valley  Forge,  has  fall. 
en  asleep,  and  dreams  of  the 
future  glory  of  America. 
6  The  American  Soldier's 

Dream.    Two  Slides $">.<).) 

The  soldier  is  seen  asleep  by 
the  <;>imp  tire,  the  sentinel  in 
the  di.  tance.  The  vision  of  his 
promotion  and  return  to  the 
dear  ones  at  home  appears,  aud 
is  then  made  to  vanish. 

(Similar  to  the  Highlander's 
Dream.) 

6  The    Martyred   Christian;    or 

Heavenward. 

Two  Slides $->.00 

The  lifeless  figure  of  a  beauti- 
ful woman,  the  victim  of  heath- 
en persecution,  is  seen  floating 
upon  the  water,  the  moon  shed- 
ding its  rays  upon  her  upturned 
face.  Her  spirit  is  been  borne 
to  heaven  by  angels. 

7  Mercy's  Dream. 

Two  SI  ides $.500 

Mercy  is  represented  in  u 
reclining  position  beneath  a 
spreading  tree.  An  angel  from 
heaven  appears  aud  places  a, 
crown  of  glory  on  her  head. 

8  The  Rock  of  Ages.  Four  Slides 

$10.00,  or  Two  Slides $5.00 

A  dark  and  stormy  sky,  and 
the  waves  dashing  against  the 
rooks,  from  which  the  Rock  of 
Ages  arises.  A  wreck  is  seen 
in  the  distance.  The  wreck 
disappears,  and  the  figure  of  a 
woman  Appears  clinging  to  the 
cross.  Tho  figure  ascends  to 
heaven. 

9  The  Orphan's  Dream. 

Two  Slides 5.00 

This  scene  represents  an  or- 
phan boy,  who,  tired  by  his  pas- 
times,  has  fallen  asleep  upon 
his  little  couch.  The  spirit,  of 
his  mother  ;»ppeqrs  an-i  bends 
tenderly  over  him,  as  if  to  give 
him  her  blessing. 


51 


10  Angel  rf  Peace. 

'J  wo  Slides $1.00 

A  beautiful  landscape  show- 
ing a  city  at  ni»ht.  with  tbe 
new  moon  in  the  sky  reflected 
in  the  water.  The  figure  of  an 
}>ngel  bearing  a  child  appears 
like  a  vision  in  the  sky,  and 
then  lades  away. 

11  The  Mother's  Dream. 

Two  Slides $500 

The  mother  has  fallen  asleep 
by  the  baby's  cradle,  and  dreams 
that  the  augei  is  bearing  her 
babe  away. 

12  Beethoven's  Dream. 

Two  Slides $5.00 

Beethoven  is  represented 
asleep,  with  his  head  resting 
upon  his  piano.  A.  beautiful 
spiiit  playing  upon  a  harp  ap- 
pears. 

13  No  Cross  no  Crown. 

Four  Slides $10.00 

Faith,  surrounded  by  the  wa- 
ters of  the  Rivtrof  Life,  is  repre- 
sented gazing  upon  the  vision  of 
the  Cross;  then  reclining  be- 
neath a  spreading  tret%  her 
trials  over,  an  angel  crowns  her. 

14  Ocean    Steamer.    Two  Slides 

with  movement $6.00 

A  view  of  a  harbor  is  repre- 
sented, with  a  city  in  the  dis- 
tance, from  which  an  ocean 
steamship,  bound  for  Europe, 
sails  away. 

15  The     Serenade.    Two     Slides 

with  movement $6.00 

A  beautiful  view,  by  itoon- 
light,  of  a  lake,  on  the  borders 
of  which  is  seen  a  cattle  bril- 
liantly illuminated.  The  Sere- 
nader  appears  sailing  in  a  gon- 
dola and  playing  a  guitar.  A 
lady  steps  out  upon  the  balcony 
of  the  castle  and  listens  to  the 
serenade.  (Music  can  be  used 
in  connection  with  this  effect.) 

16  Magic  Lily.    Two  Slides  .$7.0o| 
Beautiful  lily, from  the  centre 

of  which  a  fairy  with  a  wand 
arises. 

17  Train  of  oars.  Two  Slides  with 

movement >'.5.(m 

A  railroad  bridge  in  a  dark 
forest,  as  seen  by  moonlight.  A 
irain  of  cars  dashes  by.  the 
headlight  and  sparks  flying 
from  the  engine  making  a  very 
brilliant  appearance. 

18  The  Believer's  Vision. 

Two  Slides S5.00 


A  beautiful  lady  is  seen  re- 
clining on  a  sofa.  She  has 
fallen  asleep  after  reading  the 
Scriptures,  and  sees  a  vision  of 
angels  beckoning  her  away 

"  There  let  my  -way  appear 

Steps  unto  heaven  ; 
All  that  thou  sendest  me 

lu  mercy  given  ; 
Angels  to  beckon  me 
Nearer,  my  Co.l,  to  Thee, 

Kearer  to  Thee  1 " 

19  Melrose  Abbey,  Scotland.  S5.50 
The    rising    moon     is     seen 

through  one  of  the  windows. 

20  Stockholm  by  Moonlight. 

Three  Slides $9.00 

A  steamer  has  just  arrived, 
from  which  smoke  ascends. 
The  moon  glistens  on  the  water. 
A  boat  with  passengers  is  seen 
approaching  the  landing. 

21  St.  Peter's  Church  at  Rome,  by 

day.    Three  Slides $10.00 

Night  comes  on.  The  church 
Is  seen  by  moonlight,  and  is 
then  illuminated. 

22  Tower  of  London. 

Two  Slides $5.00 

Day,  Night. 

23  Views  in  the  Arctic  Regions. 

Three  Slides SlO.oO 

Night  sets  in,  and  the  aurora 
borealis  is  seen  in  the  heavens. 

24  Mosque  of  Omar. 

Two  slides $-5.00 

Day,  ix'ight,  and  Illuminated. 

25  Water  Mill  in  Pennsylvania. 

Five  Slides $20110 

The  wheel  is  seen  in  motion  ; 
a  swan  swims  on  the  water  and 
drinks;  the  moon  rises  and 
glistens  on  the  water;  the  win- 
dows in  the  mill  are  now  lit  up ; 
the  ground  is  seen  covered  with 
snow,  and  the  snow  is  seen  fall- 
ing. 

26  Trenton  Falls,  New  York. 

Two  Slides $3.00 

The  water  is  seen  pouring  over 
the  Falls  and  flowing  away; 
this  has  a  most  beautilul  effect. 

27  Castle  on  Lago  Maggiore. 

One  Slide $4.50 

A  lover  approaches  in  a  bo^t. 
to  serenade,  upon  which  a  lady 
appears  on  the  balcony. 

28  Faust  and  Marguerite. 

Two  Slides $S.OO 

Faust  as  st-en  in  his  labora- 
tory. Mephistophiles  with 
ma^ic  bowl  in  his  hand.  Sud- 


52 


denly  the  vision  of  Marguerite 
apr-ears,  and  flames  dart  out 
from  the  bowl. 

29  Star  of  Bethlehem. 

Three  slides $8.00 

Shepherds  are  seen  seated  on 
the  ground,  and  in  the  distance 
the  star  appears  and  gradually 
approaches  until  the  Son  of  Man 
is  fc-een  in  a  halo  of  glory. 

30  Westminster  Abbey  by  Day. 

Two  Slides $3.00 


Scene  changes  to  moonlight, 
and  interior  is  seen  lighted  up. 

31  Magician  and  Caldron. 

Two  Slides $9.00 

Cave,  and  magician  with  his 
mag  c  wand,  with  caldron  in 
corner,  out  of  which  appears  at 
various  times,  ghossts,  witches, 
hobgoblins,  etc. 

32  White  Chamber  in  the  Royal 

Palace,    Berlin,    with  the 
Ghost.    Two  Slides 35.00 


THE  FOLLOWING  ARE  SUITABLE  FOB  EITHER  ONE  OR  TWO  LANTERNS. 


1  Cole's  Voyage  of  Life,  a 
series  of  four  allegorical  pic- 
tures  $10.00 

CHILDHOOD. 

A  translucent  stream  is  seen 
Issuing  from  a  deep  cavern  it 
the  side  of  a  mountain.  Float- 
ing gently  down  the  stream  is  a 
gilded  boat,  made  of  the  sculp 
tured  figures  of  the  Hours; 
while  the  prow  is  formed  by  the 
present  hour  holding  forth  an 
emblem  of  Time.  It  is  filled 
with  flowers  ;  and  on  these  a 
little  child  is  seated,  smiling 
with  new-born  joy  as  he  looks 
upon  the  unnumbered  beauties 
of  the  bright  world  around  him; 
while  a  guardian  angel  i«  at  the 
helm,  with  his  wings  lovingly 
and  protectiiigly  extended  over 
the  child. 


'Fair    CHILDHOOD    starts,  illumed    with 

light, 

.And  pleasing  visions  trance  the  sight; 
Thus  launched  to  sail  o'er    life's  broad 

stream, 

The  first  bright  days  are  but  a  dream  ; 
While  onward  through  the  opening  morn, 
Still  thoughtless  of  the  gathering  storm, 
Outward  the  being's  vessel  sweeps, 
To  wider  seas  and  mightier  deeps." 

YOUTH. 


The  Stream  of  Life  is  widened; 
the  youth  has  taken  the  helm 
into  his  own  hands  and  has 
turned  the  prow  straight  t  oward 
a  gorgeous  temple  in  the  dis- 
tance, whose  walLs  are  built  on 
clouds,  heedless  of  the  dangers 
which  may  appear. 


"Then    YOUTH   arrives.      How    fair   the 

How  radiant  upward  shines  the  blue  1 
How  kindly  blows  the  goutle  liiveze 
That  whispers  through  the  shading  trees! 
Enchanted  youth  !     With  longing  sight 
He  sees,  aniid  the  distant  light, 
Magnificent,  a  temple  rise, 
And,  raptured,  tame  and  nonor  cries." 

MANHOOD. 


The  voyager  is  seen  near  the 
verge  of  a  cataract,  while  a  fear- 
ful storm  rages  arouud  him. 
The  rudderless  bark  is  just 
about  to  plunge  into  the  abyss 
below,  while  the  voyager  (now 
in  the  prime  of  manhood)  is 
imploring  the  only  aid  that  can 
avail  him  in  the  trying  hour— 
that  of  Heaven. 


"  Alas  i  too  soon,  with  MANHOOD'S  prime, 
The  stream  displays  the  rage  of  time  : 
Wild    lightnings    play  :    mad    thunders 

roar : 

The  waves  dash  furious  'gainst  the  shore. 
What  now,  O  God  I    through  this  stern 

strife, 

Can  keep  the  voyager,  save  his  life  ? 
What,  but  Thy  blessing  and  Thv  care, 
Who    hear'st     the    troubled    'voyager's 

prayer." 


OLD  AGE. 

The  voyager,  with  hoary  head, 
has  reached  the  point  where  the 
waters  of  time  and  eternity 
mingle  together.  The  hour-glass 
is  gone.  The  old  man  is  on  his 
kuees,  with  clasped  hands  and 
eyes  turned  heavenward.  The 
angelis  hovering  just  abovehim 
to  transport  him  home,  while 
countless  angel  faces  look  down, 
upon  him,  "and  above  all 


53 


shine*  the  benign  light  of  the 


"'With  AGE  what  brighter  scenes  appear! 
Behold!  the  harbor  now  is  near, 
And  sailing  now  a  calmer  tide, 
The  radiant  angel  close  beside, 
The  voyager  now,  with  straining  eyes 
Kurapt,  the  glorious  port  descries  : 
While  o'er  the  dark,  receding  storm, 
Bright  breaks  the  light  of  endless  morn." 

2    Jerusalem,  Ancient  and  Mod- 
ern.   Two  Slides $500 

From    S  e  1  o  u  '  s     Celebrated 
Paintings. 


JERUSALEM  IN  HER  GRANDEUR. 

This  painting  represents  the 
cltv  after  it  had  been  rebuilt  by 
Herod  the  Great,  and  during 
the  lifetime  of  our  Saviour. 

JERUSALEM  IN  HER   DECAY. 

The  general  features  of  the 
landscape  remain  the  same 
The  Temple,  resplendent  in 
snowy  marble  and  gold,  has 
given  place  to  the  Mosque  of 
Omar,  and  the  dreary  inciosure 
of  the  Harem. 

A  descriptive  book  and  key 
of  Selou's  two  grand  pictures, 
containing  a  detailed  account 


of  nearly  two  hundred  points  of 
interest  in  Jerusalem,  will  be 
furnished  for  30  cents. 

3  Longfellow's    Hiawatha,  with 

poem.    Per  Slide  ........  $2.50 

a    Hiawatha's  Wooing. 
b    Hiawatha's  Weddinsc. 
c    The  death  of  Minnehaha. 
d    Hiawatha's  Departure. 

4  AbouBen  Adhem.  Two  SI  ides, 

with  poem  ...............  $3  00 

5  Origin  of  the  MORS  Rose.    Four 

Slides,  with  poem  .......  $1U.OO 

6  Set  of  the  Four  Seasons.    Per 

Slide  ......................  $2.50 

a    Spring  c    Aut.umu 

6    Summer       d    Winter 

7  The    Shipwrecked    Mariners' 

Hope.    Two  Slides  .......  f&  in) 

Cast  upon  the  rocks  are  seen 
the  two  survivors  of  a  ship- 
wreck; the  first  glimmer  of 
dawn  reveals  a  ship  in  the  dis- 
tance. Morning  breaks  and  the 
ship  now  approaches  them. 

8  The  Way  of  Salvation.    Four 

Slides 


Upon  search  ing  the  Holy  V\  nit 
and  becoming  convinced  of  the 
error  of  her  ways,  the  repentant 
sinner  knocks  at  the  g-ite;  then 
led  by  Jesus  through  the  Dark 
Valley,  she  arrives  on  the 
shores  of  the  Beautiful  River. 


EFFECT  SLIDES,  WITH  REVOLVING  MOTION. 


1  The  Bee  Hive $500 

Mhe  hive  surrounded  with 
flowers,  bees  in  motion. 

2  The  Aquarium $5.00 

The  globe  is  surrounded  ^y 
crimson  and  blue  curtains.  By 
a  revolving  motion  gold  and 
silver  fish  swim  around. 

3  The  Fountain $.>.00 

The  water  appears  to  llow 
from  a  beautiful  vase  and  fall 
into  the  basin  below. 

4  The  Wind  Mill ?r,.oo 

The  sails  are  seen  revolving. 

5  The  Wheel  of  Life $7.00 

With  four  designs:  The 
Skaters,  the  Fishes,  the  Bottle, 
i  he  Ladder. 

6  D  mcing  Skeleton $6/C 

7  Moon  Rising.    One  Slid*.. $3.50 

Can  be  adapted  to  dissolve 
with  ary  slide. 


8  Rainbow.    One  Slide $3.50 

9  Lightning  Effect. 

One  Slide $3.50 

10  Falling  Snow $3.10 

11  The    Cause    of    Spring    and 

Neap  Tides,  and  the  Moon  s 
phases  during  its  Revolu- 
tion  $5.00 

12  The  Earth's  Rotundity  shown 

by  a  ship  sailing  arouud  the 
globe 35.00 

13  The  Rotation  of  the  Earth  on 

its  Axis $500 

14  The  Various   Eclipses   of  the 

San,  with  the  Transit  of  Ve- 
nus  $5.uO 

15  The  Various  Eclipses   of  the 

Moon $5.00 

16  Newton's  Di«k  for  showing  re— 

composition  of  colors . .  .$8.UJ 


ZF-AJR/T   TIKIIR/D. 


PLAIN    GLASS   SLIDES. 


The  above  cut  shows  the  exact  size  and  shape  of  the 
transparency,  the  mat,  the  glass,  and  the  binding  of  the 
Woodbury,  the  American,  and  the  Scientific  Sciopticon 
Slides.  In  French  slides  the  lateral  measure  of  the  trans- 
parency is  a  little  less. 

54 


55 


In  reducing  the  prices  of  plain  glass  slides  to  the  following  extreme- 
ly low  rates,  our  difficulty  is  very  greatly  augmented  by  our  anxiety 
to  sell  only  such  as  are  unexceptionable  in  quality.  In  selecting  our 
supply  our  chief  solicitude  will  be  in  the  future,  as  it  has  been  in  the 
past,  to  get  hold  of  only  the  slides  that  will  prove  satisfactory  to 
customers  and  creditable  to  the  Sciopticon. 

In  revising  these  lists  we  have  reference  to  our  best  sources  of  sup- 
ply, to  a  wide  distribution  of  subjects,  and  to  limiting  toe  enumeration 
to  what  is  most  desirable.  Views  of  every  variety  in  the  marktt, 
whether  herein  enumerated  or  not,  will  be  furnished  at  the  cheapest 
rates. 

Any  of  the  following  class,  unless  exceptionally  rare  or  difficult  to 
obtain,  are  priced  as  below. 

Class  XL.      American   Views. 

PER  SLIDE,  50   CENTS. 


NEW  ENGLAND. 

1  Lewiston,  Maine. 

2  Continental  Cotton-Mill,  Lew- 

iston, Me. 

3  Povt  Office,  Portland,  Me. 

4  City  Hall. 

5  United  States  Hotel, Portland. 

6  Panorama  of  Portland. 

7  Franconia  Mountains,  N.  H. 

8  Walker's  Falls. 

9  Profile  Lake. 

10  Echo 

11  Flume. 

12  Suspended  Boulder  Flume. 

13  Pool. 

14  Profile  House. 

15  Lonesome  Lake. 

16  Mt.  LaFayette. 

17  While  Mountains,  N.  H. 

18  Mt.  Washington. 

19  "  Signal  Station. 

20  Summit  House,  White  Moun- 

tains, N.  H. 

21  Tip  Top  House,  White  Moan- 

tains,  N.  H. 

22  Carriage  Road,  White  Moun- 

tains, N.  H. 

23  Glen    House,    White    Moun- 

tains, N.  H. 

24  Silver    Cascade,   Crawford 

Notch. 

25  Willey  *Touse. 

26  "       Family  Furniture. 

27  Crawford  House. 

28  Pulpit  Rock. 

29  Bri.lal  Veil  Falls. 

30  Frozen  Fountain  (30  ft.  high). 

81  Frozen  Falls. 

82  Mt.  Washington  Railway. 
3J    Fabyatt  House. 

34    Twin  Mountain  House,  Car- 
roll, N.  H. 


35  Jacob's  Ladder. 

8(3  Diana's  Bat h,  N.Con way, N.H. 

37  Artist's  Falls. 

38  Falls  of  the  Ammonoosuc. 

39  Gorham.  N.  H. 

40  Centre  Harbor,  N  H. 

41  Lake  Winnipiseogee. 

42  Daniel     Webster's     Place, 

Franklin, N.  II. 

43  Bethlehem.  N.  H. 

44  Littleton,  N.  H. 

45  Montpelier,  Vt. 

46  Newbury,  Vt. 

BOSTON,  MASS.,  ETC. 

47  Panorama  of  Boston. 

48  View  of  Boston  Harbor. 

49  Navy  Yard,  Bost  m. 

5>  Washington  Street,  Boston. 

51  Old  South  rhurch. 

52  Old  State  House. 

53  Quincy  Market. 

54  FaneuilHall. 

65  Bunker  Hiil  Monument. 

56  New  State  House. 

57  Parker  House. 
53  Tremont    " 

59  Masonic  Temple. 

60  Boston  Common. 

61  The  Old   Elm,  Boston   Com- 

mon. 

62  Public  Gardens,  Bo«ton. 

63  The  Brewer  Fountain. 

64  Ether  Monument. 

65  Statue  of  Washington. 

66  Commonwealth  Avenue. 

67  Summer  Street. 
63  Hanover      " 

69  Church    of  the    Immaculate 

Conception. 

70  City  Hall. 


71  Sea  View    House,    Martha's,  121 

Vineyard. 

72  Gray  Head  LigM  House,  Mar- 

ttia's  Vineyard. 

73  The    Miles    Siandish   House 

Duxbury,  Mass. 

74  Plymouth,  Ma-s. 

75  Fall  River,  MJISS. 

76  American  Print  Works,  Fall 

River. 

77  State  House,  Newport,  R.  I. 

78  Statue  of «  om.  Perry 
7D    The  Old  Stone  Mill, 

80  Ocean  House, 

81  View  of  the  Beach, 

82  Purgatory, 

83  Hanging  Rocks. 


Steamer  Bristol. 

NEW  YORK. 

85  Broadway,  from  the  Post  Of- 

fice. 

86  The  New  Post  Office. 

87  City  Hall. 

88  The  Tribune  Building. 

8i)    The  Staats  Zeitung  Building. 

90  The  New  York  Times       " 

91  The  New  York  Herald     " 

9J  The  Equitable  Insurance 
Building. 

93  Trinity  Church. 

94  Wall  Street. 

95  Fulton  Ferry. 

96  East  River  Bridee. 

9;  Grand  Central  Hotel,  Broad- 
way. 

98  Stewart's  Retail  Store,  Broad- 
way. 

P9    Grace  Church,  Broadway. 

100  Young  Me  j  s  Christian  Asso- 

ciati.  n  Building. 

101  Booth's  Theatre. 

10  i  The  Masonic  Temple. 

103  Grand  Opera  House. 

H'4  Asi.or  Library. 

1' 5  Mercantile  Library. 

106  Cooper  Institute. 

107  Bible  House. 

108  Normal  College. 

109  Columbia  College. 

110  Worth  Monument. 
HI  Windsor  Hotel. 

112  The  Fountain,  Central  Park. 

113  The  Ten  ace, 

114  The  Lake, 

115  Goat  Team, 

116  Auld  Lang  Syne, 

BROOKLYN. 

117  Plymouth  Church. 
IIS    Prospect  Park. 

19    Oak  Bridge,  Prospect  Park. 
120    Echo     " 


Nethormead  Arches.  Prospect 
Park 

GREENWOOD  CEMETERY. 

122  Entrance   Greenwood    Ceme- 

lery. 

123  Monument,  James   Gordon 

Bennett. 

124  Monument,   Miss  Charlotte 

Canda. 

125  Monument,  Professor  Morse. 

126  "  Niblo'sTomb. 


HUDSON  RIVER,  ETC 

127  The  Palisades. 

128  The  Tappan  Zee. 

12.)  Entrance  to  the  Highlands. 

1-50  West  Point. 

13L  View  North  from  West  Point. 

132  Catski  II  Fails. 

1.J3    Suspension    Bridge,    Hudson 

River. 

Hi    Upper  Hudson. 
135    Jam   of  Logs   on  the   Upper 

Hudson. 

rif)    Birmingham  Falls. 
137    Glen's  Falls. 

133  Lake  George. 

139  "  View  at  Bolfwi. 

UO    Ganousky  Bay,  Lake  Georg". 
141    Fort  Wm.  Henry  Hotel,  Lake 


142    Fort   Ticonderoga,    Lake 

<  eorge. 

141    Sen  ro  01  Lake,  from  Lei  ami's. 
144  Boat  Landing. 

115    Indian  River,  Adirondack^. 
1  16    Eagle's  Nest  Lake,  " 
Ii7    Hunter's  Camp,  Blue  Moun- 
tain Lake. 

SARATOGA. 

148  Grand  Union  Hotel. 

149  "       Interior. 

150  Congress  Spring, 

151  Empire        " 

152  High  Rock  " 

153  Star  " 

154  United  States  Hotel. 

155  Saratoga  K.  R.  Depot. 

156  Saratoga  Lake. 

NIAGARA  FALLS. 

157  Point   View,    American    and 

Horse  Shoe  Falls. 

158  Terrapin  Tower,  Winter. 

159  Ice    Mound    and     American 

Fall. 

160  American  Fall  from.  Goat  Is- 

land. 


161  Horse  Shoe  Fall  from  Cilfton 

House. 

162  Rapids  above  the  Falls. 
J<;3        "        below       " 

]G4    The  Whirlpool  Rapids. 

165    Horse  Shoe  Fall  from  below. 

lt>6    Ice  Bridge   and   Horse  Shoe 

Fall. 
167    Hermit's  Cascade,  and  First 

Sister  Island. 
IflS    Suspension  Bridge  and  Falls. 


Ki9 
J70 
171 


Interior. 

Winter  View  from   Prospect 
Point. 

172  New  Suspension  Bridge. 

173  Luna  Island 

174  Under  the  Banks. 

175  Table  Pock,  Winter. 

176  FrostWork  Luna  Island. 

177  View  in  Front  of  the  Cave  of 

the  Winds. 

178  Moonlight  View  of  the  Falls. 

WATKIN'S  GLEN,  N.  Y. 

179  Entrance  Amphitheatre. 

180  Lower  Falls. 

181  Still- Water  Gorge. 

183    Central  Vi^w  and  Minnehaha. 

183  Cavern    Cascade    and    Long 

Staircase. 

184  Mystic  G'Tge. 

185  Glen    Mountain    House   on 

North  Cliff. 

186  Cathedral  Bridge  and  Butter- 

milk Falls 

187  Central  Staircase  and  Mam- 

moth Falls. 

188  Central  Falls. 

1»9  Looking  down  Glen  Cathe- 
dral. 

190    Rainbow  Falls,  from  below. 

Itfl  Rainbow  Falls  a  u  d  Triple 
Cascade. 

192  F»  owning  Cliff,  distant,  view. 
J93    Frowning  Cliff  and   Narrow 

Pass. 

194    Gothic  Arch  of  Hope's  Studio. 
19')    Pluto  Falls. 

196  Artist's  Dream. 

197  Elfin  Gorge  and  Fairy  Pool. 

NEW   JERSEY. 

193  Princeton  College,  Princeton, 

N.J. 

199  Passaic  Falls,  Paterson,  N.  J. 

PHILADELPHIA,  PA.,  ETC. 

200  Custom  House. 
20  L    Post  Office. 

202    Independence  Hall. 


203 


Interior. 


204  Old  Independence  Bell. 

205  Carpenters'  Hall. 
l'06  Old  Christ  rhurch. 

207  Old  Swedes' Church. 

208  Girard  College. 

209  U.S.  Mint. 

210  Masonic  Temple. 

211  Arch  Street  M.  E.  Church. 

212  Academy  of  Fine  Arts. 

213  "     Music. 

214  St.  George's  Hall. 

215  Horticultural  •• 

216  Union  League. 

217  La  Pierre  House. 

218  New  Public  Buildings. 

219  Ledger  Building 

220  Wood's  Museum. 

221  Continental  Hotel. 

222  Cathedral  St.   Peter  and   St. 

Paul. 

223  Girard  Avenue  Bridge. 

224  Chestnut  Street       " 

225  University  of  Pennsylvania. 

226  Fairmount  Paik. 

227  Steamboat   Landing,   F  a  1  r- 

mount  Park. 

228  Connecting  R.  R.  Bridge. 
2^9  Fairmount  Water  Works. 

230  Pavilion  and  Basin. 

231  Belmont  Mansion. 

232  Benedict  Arnold's  House. 

233  Lemon  Hill  Mansion. 

234  Penn  •* 

235  Roc kl and 

236  The  Solitude 

237  Iron  Spring  Fountain. 

238  Graff  Monument. 
2  {9  Lincoln       " 

240  Music  Stand. 

211  Grant's  Cabin. 

242  Sweet  Brier  Heights. 

243  Lovers'  Walk 
2U  MiueralSprincr. 

245  The  Wissahick'm. 

246  Old  Mill,  Wiasahickon. 

247  R.  d  Bridge, 

248  Laurel  Hi . I  Cemetery. 
219  Entrance  to  Laurel  Hill. 

250  Chapel. 

251  Cresson  Monument. 
T)-2  Old  Mortality. 

203  Entrance  to  Mount  Vernon 
i  emeterv. 

254  Gardeil  Monument,  Mt.  Ver- 

n  >n. 

255  Fntrance  to  Woodland. 
258  Bailey  Monument.. 

257  Delaware  River  (instantane- 

ous). 

258  Chew    House,     Germantown 

Battle  Ground. 

259  Washington's   Headquarters, 

Valley  Forge. 

260  View  of  Cattle  and  Meadow, 

Media,  Pa 


58 


201    Delaware  Water  Gap. 

2U2    Indian  Ladder  Bluff. 

2G3    Mauch  Chunk,  General  View. 

2<>4    Mt.  Pisgah,  Mauch  Chunk. 

265  Mauch  Chunk  and  Glen  Ono- 

ko. 

266  Terrace  Falls,  Glen  Onoko. 
2(37    Ouoko  Falls. 

268    Dual  Cascade. 

2t>9    Lehigh  River,  Dam  and  Rail 

Road. 
270    Saw  Mill,  Cresson,  Pa. 

DELAWARE. 


271    Old    Swedes' 
mington. 


Church,    Wil- 


BALTIMORE,  MD. 


272  Battle  Monument. 

273  Washington  " 

274  Peabody  Institute. 

275  City  Hall. 

WASHINGTON,  D.C.,  ETC. 

276  The  Capitol,  full  view. 

277  "  front    " 

278  Interior  of  the  Dome. 

279  The  Marble  Room. 

280  Statue  of  Lincoln. 

281  The  Senate,  Exterior. 

282  Interior. 

283  House     of     Representatives, 

Exterior. 

284  House  oi  Representatives,  In- 

terior. 

285  Treasury  Building. 
28(5    Marble  Cash  Room. 

287  Post  Office. 

288  Patent  Office. 

2S9  «»          Interior. 

i!9'i  The  White  House. 

21)1  Red  Room,  White  House. 

292  Equestrian    Statue    of   Gen. 

Jackson. 

293  Smithsonian  Institute. 
l!9l    Agricultural  Building. 
29.1    Market  Square. 

296    Statue  of  Gen.  Scott. 
2i«7    Natural  Bridge,  Va. 

298  View    near    White    Sulphur 

Springs,  Va. 

299  Tomb  of  Washington,  Mount 

Vernon. 

300  Washington's    Mansion,   Mt. 

Vernon. 

301  Ten    Sided    Barn     Built    f^r 

Washington. 

302  Washington  Monument, 

Richmond,  Va. 


303 
304 

305 
306 
307 

308 
309 
310 
311 
312 
313 


CHARLESTON,  S.  C. 


Northeast  from  St.  Michael's 

Church. 
Broad     Street     and     Ashley 

River. 

North  from  St.  Michael's  Ch. 
From  South  Battery. 
Fort  Bumpier  and   Castle 

Pinckney. 

East  from  St.  Michael's. 
Chapel,  Magnolia  Cemttery. 
Hayne's  Monument. 
Charleston  Hotel 
Mills  House. 
King  Street. 


SAVANNAH,  GA. 

314  Liberty  Street. 

315  Bull 

313    Exchange. 

317  Savannah     River,     Looking 

Down. 

318  Savan  nah  River,  Looking  Up. 

319  PulHskiMommviit. 

320  View  in  Bonaventura  Ceme- 

tery. 

321  Tomb  in  Bonaventura  Ceme- 

tery. 


FLORIDA. 


322  St.    James'    Hotel,    Jackson- 

ville. 

323  Bay  Street  and  National  Ho- 

tel, Jack  sou  ville. 

324  Stanton  Institute  for  Colored 

Children,  Jacksonville. 

325  Panorama  St.  Augustine. 

32t)    Old  Cathedral,  St.  Augustine. 

327  Foit  San  Marco,    " 

328  Palmetto  Trees,   near   St. 

John's  River. 

329  O ranges. 

:«()    The  Plaza,  St.  Augustine. 

331  St.    Francis   Street  and  Date 

Palm,  St.  Augustine. 

332  Charlotte   Street,  St.   Augus- 

tine. 

333  Residence  of  Harriet  Beeoher 

Stowe,  near  Jacksonville. 

334  Florida    Wint  r    House,    Ar- 

lington  Bluffs,  near   Jack- 
sonville. 

335  Green    Cove     Springs,    near 

Jacksonville. 

336  Clarendon  House,  Green  Cove 

Springs. 

337  State  House,  Tallahasse. 

338  Market    "  " 


59 


NEW  ORLEANS,  LA.,  ETC. 

339  General  View. 

3JO  Levee  and  Steamers. 

oil  Steamer  R.  E.  Lee. 

342  Fciry  Boat  Louise. 

'643  State  House. 

341  Christ  Church. 

845  Opera  House. 

31rt  Custom    " 

3J7  City  Hall. 

348  French  Cathedral. 

319  St.  Charles' Hotel. 

350  St.  James'       " 

351  Jackson  Square. 

352  Canal  Street. 
35 J  Charter  " 
3J4  Camp      " 

o55  Four  Panoramic  Views  from 
St.  Patrick's  Cathedral,  look- 
ing N.  N.  E.,  N.  W.,  S.  W. 

353  Vicksburg,  Miss. 

357  Memphis,  Tenu.,  General 

View. 

CINCINNATI,  O. 

358  Burr  et  House. 

359  Grand  Hotel. 

360  Court  House. 

301  Inclined  Plane. 

302  Lookout  House. 

303  Tyler-Davidson  Fountain. 

361  Suspension  Bridge. 
365  Steameis  and  Bridge. 
300  Interior  of  Steamer. 

CHICAGO,  ILL. 

307    Chicago  River  and  Shipping. 
30S    Michigan  Avenue,  Ctiicago. 

369  Cattle  Yards  and  Texas  Cat- 

tle, Chicago. 

370  Clark  Street,  and  the  Ameri- 

can Buffalo,  Chicago. 

MINNESOTA. 

371  St.  Paul,  Minn. 

372  Falls  of  St.  Anthony. 

373  Miiinehaha  Falls,  Mummer. 

374  "  Winter. 

WISCONSIN. 

375  Dalles  of  the  Wisconsin. 

370    Devil's  Chair,  St.  Lroix  River. 

377  Fishermen  on  the  " 

378  Kinnickinick  Falls.  Wis. 

ST.  LOUIS,  MO. 

379  Mississippi  River  Bridge,  St. 

Louis. 


380    Steamer   Great  Republic,  St. 

Louis. 
331    Saloon,   Great   Republic,  St. 

Louis. 

382  Steam*  r  Macomb  (U.  S.  Snag 

Boat). 

383  Steamer  and  Bridge. 

384  Levee  and  Shipping. 

385  Southern  Hotel. 


UNION     AND     CENTRAL     PA- 
CIFIC R.  R. ,  ETC. 

386  Council  Bluffs,  Iowa. 

387  Omaha,  Neo. 

388  Fremont  City.  Neb. 

389  Pawnee  Indians,  Group. 

390  "  Head  Chief, 

391  and  Lodge. 

392  Echo  Canon. 

39>  Pulpit  Rock  in  Echo  Cafion. 

3!»4  Witches' 

395  The  Devil's  Slide. 

396  Devils  Gate. 

397  Weber  Lafioii. 

398  Ogdeu        " 
3U9 

•100    Salt  Lake  City  Panorama. 

401  Mormon  Tabernacle,  Uld  and 

New. 

402  Old  Mormon  Tabernacle,  In- 

terior. 

403  Residence  of  Brigham  Young. 
401    Main  Street,  Salt  Lake  City. 

405  Virginia  City. 

406  Carson    Valley    and     Van 

Sickles  Hotel. 

407  Donner  Lake,  from  Summit. 

408  View  from  Bueua  Vista  Peak. 

409  Old  Nick  of  the  Woods  (Lake 

Tahoe). 

410  Snowttheds. 

411  "  Interior. 

412  Summit   of   the    Sierra    Ne- 

vadas.10,000  feet 

413  Teams  Passing  Through   the 

Snow 

414  American   River  from   Cape 

Horn. 

415  Hydraulic  and  Placer  Mining. 

CALIFORNIA,  ETC. 

416  Sacramento,  Cal. 

417  Stockton,  Cal.,  Main  Street. 

418  San  Francisco,  Cal. 

419  Chinese  Joss  House,  Cal. 

420  "         .      '*        luterio 

421  Seal  Rocfes. 

422  Golden  Gate  from  Telegraph 

Hiil. 

423  Woodward's  Gardens. 

424  Digger  Indians  aud  Huts 


60 


THE  GEYSERS,  KTC. 

425  Entrance  to  Devil's  Canon. 

426  Geyser  sprmes. 

427  Looking  up  Devil's  Canon. 
4J8  Gevsers.  Ovens.  Devil's  Wash- 
tub. 

420  Geysers,  the  Steam  Whistle. 

430  The  Devil's  Tea  Kettle. 

431  H^ene  in  Devil's  Canon. 
4:32  Witches  Caldron. 

433  "  and    Devil's 
Pulpit. 

YO-SEMITE  VALLEY,  ETC. 

434  Inspiration  Point. 

435  Looking  Down  the  Valley. 

436  Cathedral  Bocks. 

437  ELCapitan. 

438  Mirror  Lake. 

439  Reflection  of  El  Capitan. 

440  Mirror    View    of    Cathedral 

Rocks. 

441  Bridal  Veil  Falls. 

44J  Three  Brothers,  4000  feet. 
413  "  Mirror  View. 

444  Cathedral  Spires,  2600  feet. 

4 15  Sentinel  Rock. 

446  Looking  up  the  Valley. 

447  Snow's  Hotel. 

448  The  Three  Graces. 
419  Yosemite  Indians. 

450  The  Lost  Arrow. 

451  North  Dome  and  Washington 

Tower. 

452  North  Dome  and  Cloud's  Rest. 

453  North  and  South  Domes 

454  **  "  Re- 
flected. 

455  Eagle  1'eak. 

456  Cap  of  Liberty. 

457  Yosemite  Falls,  2600  feet 
4)8  Lower      " 

459  "Our  Party,"  Yosemite  Val- 

ley. 

460  Nevada  Falls,  700  feet. 
451  Vernal  Falls. 

462  Ladder  up  Vernal  Falls. 

463  South  Canon  FH!  Is. 
404  Rapids. 

465  Tennya  Falls. 

466  Lake  Ten  ay  a. 

407  3 Hoffman's  Tower. 

468  Vo.canic  Mountains. 

BIG  TREES,  ETC. 

469  Clark's  Hotel,  Mar'posa. 

470  Grizzly  Giant 

471  Vit-wof 

4<2  Big  Trees,  Mariposa  Grove. 

473  (Teortre  Washington. 

474  The  Mother  of  the  Forest. 

475  The  Fallen  Monarch. 


47«    The  Pioneer's  Cabin. 

477  Section  of  Original  Big  Tree. 

30  feet  diameter. 

MEXICO. 

478  Aztec  Idols. 

479  Aztec  sacrificial  Stone  (60,000 

human  lives  were  sacrificed 
up  m  this  stone  in  one  year. 
— Prescott). 

480  Vi  e w  i  n  ti  i  e  City  of  Mexico. 

481  Chapultepec. 

482  Cathedral  at  Puebla. 

483  Cathedral  of  (Jaudaloupe. 

484  P\  ram  id  of  Cholula. 

485  Orizaba, 

And  60  other  views. 

BERMUDA  ISLANDS. 

486  View  in  Bermuda. 

487  Fisherman's  Home. 

488  Heron  Bay, 

And  20  other  views, 

CANADA. 

489  City  and  Harbor,  Montreal. 
49t)    Panorama  of 

491  Victoria  Bridge,  " 

49i  Montreal  Bridge. 

493  Grey  Nunnery. 

494  Victoria  Statue,  Montreal. 

495  Wolf  Monument,  Quebec. 
493  Wolf  and   Montcalm   Monu- 
ment. 

497  Citadel  from  Queen's  Wharf. 

498  St.  Lawrence  River  from  Cita- 

del. 

499  Point  Levi  from  Quebec. 

5UO    Montmorenci  Falls,  Vicinity 
of  Quebec. 

501  Indian  Village,  Lorette. 

502  Parliament  Building,  Ottawa. 

Four  Views. 

503  Canad'an  Cottage. 

504  Canadian  School  House, 
And  other  views. 

STATUARY. 

.505  Council  of  War. 

506  Country  Post  Office. 

507  Charity  Patient. 

508  Mother  and  Babe. 

509  Feed  my  Lambs. 

51.)  Rebecca  at  the  Well. 

511  Town  Pump. 

512  Union  Refugees. 

513  Wounded  Scout. 

514  Jno  and  Bacchus. 

5'5    The  Returned  Volunteer. 
")Ki    Young  England. 
517    Old  " 


61 


Class  XLI.     Foreign  Plain  Slides. 

PER  SLIDE,  60  CENTS. 

In  the  following  carefully  selected  list  of  foreign  views,  we  have  ob- 
served, a  continuous  arrangement,  easy  to  refer  to,  and  readily  divided 
up  into  lantern  journeys  for  private  entertainments  or  public  exhibi- 
tions. See  list  of  descriptive  lectures,  Introduction,  p.  25. 


ENGLAND  AND  SCOTLAND. 

1  The  Journey  Across. 

2  The  Docks,  Liverpool. 

3  Castle  Street,       'f 

4  House  of  Parliament. 

5  Westminster  Abbey,  Interior. 

6  "      Exterior. 

7  Buckingham  Palacp. 

8  Blue   Room,    Buckingham. 

9  Promenade  Gallery, 

10  Throne, 

11  Gallery  of  Paintings, 

12  Grand  Staircase, 

13  Drawing  Room, 

14  St.  Paul's  Cathedral. 

15  The  Horse  Guards. 

16  Mansion  House,  Lord  Mayor's 

Residence. 

17  Somerset  House. 

18  Windsor  Castle,  London. 

19  Corridor,  Windsor 

20  Red  Room,       " 

21  Reception  Room,  Windsor. 

22  Throne 

23  Tower  of  London. 

24  Kensington  Gardens. 

25  Temple  Bar. 

26  Trafalgar  Square. 

27  Waterloo  Place. 

28  Bank  of  England. 

29  Greenwich  Observatory. 

30  Greenwich  Hospital. 

31  The  Custom  House. 

32  Smithfleld    Martyrs'   Memo- 

rial Church. 

33  Albert  Memorial. 

34  The  Albert  Memorial— 

a  Europe,  by  McDowel. 
b  Asia,  by  Foley. 
c  Africa,  by  Theed. 
d  America,  by  Bell, 

35  The  Thames  Embankment. 

36  Osborne  House,  Isle  of  Wight. 

37  The  Corridor,  Osborne  House. 

38  Statue  of  Queen  Victoria. 

39  View  of  Cowes. 

40  "     Ventnor. 

41  Carrisbrook  Castle. 

42  Balmoral  Castle,  Scotland. 

43  Panorama  of  Edinburg. 

44  CaltonHill, 

45  MonumenttoSirWalterScott 

46  Holyrood  Castle. 

47  Ruins  of  Chapel  at  Holyrood. 


48  Mel  rose  Abbey. 

49  Lake  Katrine. 

60  Lake  Lomond. 

61  Rumbling  Bridge  at  Dunkeld. 

52  Trossacksaod  Henvenue. 

53  Trossack's    Hotel   and    Ben- 

venue. 


AND 


FRANCE,      SPAIN 
PORTUGAL. 


54  Panorama  of  Paris. 

55  Panorama  of  Eight  Bridges. 

56  Church  of  the  Madelaine. 

57  New  Opera  House. 

58  The  Bourse  (the  Exchange). 

59  Rue  de  Rivoli. 

60  Place  de  la  Concorde. 

61  Hotel  deVille. 

62  The  Tower  of  St.  James. 

63  Museum  of  the  Louvre. 

64  RoomofCariatides. 

65  Assyrian  Room,  Museum  of 

the  Louvre. 

66  Statue  of  the  Nile. 

67  Gallery  of  the  Venus  de  Milo. 

68  Statue  of  Diana,  Museum  of 

the  Louvre. 

69  Love  and  Psyche,  by  Canova. 

70  Gallery  of  Paintings. 

71  Palace  of  the  Tuileries. 

72  Gallery  of  Diana,  Tuileries. 

73  Throne  Room, 

74  Room  of  Apollo 

75  Room  of  Peace. 

76  Place  Vendome. 

77  Triumphal  Arch  de  1'Etoile. 

78  Corps  Legislative. 

79  Pantheon. 

80  Grand  Hotel. 

81  Royal  Palace. 

82  Place  de  la  Concorde. 

83  Arch  of  the  Carousel. 

84  Palace  of  the  Corps  Legisla- 

tive. 

85  Palace  of  the  Institute. 

86  Palace  of  Justice. 

87  Palace  of  Luxembourg. 

88  Throne  Room,  Luxembourg. 

89  Luxembourg  Chapel,  Int. 

90  Statue  of  Hope,  by  Lemoine. 

91  Fountain  de  Medicis,  Luxem- 

bourg. 

92  The  Room  of  the  Senate. 

93  Holy  Chapel. 


62 


fH  The  Invalided. 

i  5  Tomb  of  Napoleon  T. 

H6  Church  of  st.  Augustine. 

97  Church  of  St.  Augustine,  Int. 

98  St.  Germain  1  Auxetrois. 

99  St.  Germain  1'Auxerroi.s,  Int. 

100  Trinity  Church. 

101  St.  Stephen  of  the  Mount. 

102  The  Pantheon. 

103  St.  Vincent  de  Paul. 

104  The  Palace  Royal. 

105  Cathedral  Notre  Dame. 

106  Cathedral  Notre  Dame,  Int. 

107  Palace  Versailles. 

108  Park 

109  Gallery  of  Tombs.  Versailles. 

110  Gallery  of  the  Warriors,  " 

111  Mirror  Gallery. 

112  Gallery  of  Battles,  " 

1 13  Grand  Trianon  Palace. 

114  Saloon  of  Marie  Antoinette. 

115  Room  of  Malachites 

116  Empress  Josephine's  Bed. 

117  Queen  Victoria's  Chamber. 

118  Cast'eof  FontaineblHHii. 

119  Bed  Chamber  of  the  Emperor. 

120  Bedchamber  of  the  Empress. 

121  Bed  Chamber  of  Pope  Pius  vii. 

122  Room  of  the  Apartments  of 

Pope  Pius  vii. 

123  Lake  and  Castle  Pierrefonds. 

124  Castle  Maintenon. 

125  Castle  Pierrefonds. 
l'.?6  Castle  of  Chambord 

1 27  Castl  e  of  Azay  1  e  Rideau. 

128  Panorama  of  Madrid. 

129  Palace  of  the  Cortes,  Madrid. 

130  Fountain  of  Seasons. 

131  Queen's  Palace. 

132  Queen's  Room,  Escurial. 

133  Court  of  Lions,  Alhambra. 

134  Fountain  of  Lions. 

135  Grenada. 

13d  Colonnade  of  Pilate's  House, 
Seville. 

137  Fountain,  Pilate's  House.  Se- 

ville. 

138  Palace  of  the  Duke  de  Mont- 

pensier. 

139  Cathedral  of  Toledo. 
]<10  Alcazar  Segovia. 

141  Cuenca. 

142  Market  Place,  Cordova. 

143  Malaga. 

144  Cadiz. 

145  Barcelona. 

146  Gallery  of  Statues,  Aranjuez. 

147  Gallery  of  Statues,  Casa   del 

Labrador. 

148  Lisbon,  Portugal. 

SWITZERLAND. 

149  Schaffhausen. 

150  The  Falls  of  the  Rhine. 


151  Zurich. 

152  St.  Gall. 

153  Lucerne. 

15i  Lion  of  Lucerne. 

155  Weggis. 

156  Fluellen. 

157  Hospice  St.  Gothard. 

158  Devil's  Bridge,  St.  Gothard. 

159  View  of  Goeschine   Uri,   St. 

Goths  rd. 

160  Andermat. 

161  Airolo. 

162  Entrance  to  the  Tunnel,  St. 

Gothard. 

163  Gallery  of  Stalvedro,  St.  Go- 

th ;ird. 

164  The  Rhifri. 

165  Glacier  of  the  Rhine. 

166  Village  of  Simplon. 

167  Hospice  and  Lake  of  Grlmsel. 

168  The  Gorge  of  the  Aar  at  Han- 

deck. 

169  Th e  Falls  of  the  Handeck. 

170  Meyriugen. 

171  Falls  of  the  Reichenbach. 

172  Rosenlaul. 

173  Baths  of  Rospnlaul. 

174  Wellborn  and  Wetterhorn. 

175  The  Grindelwnld  Glacier. 

176  View  at  Grindelwald. 

177  Mer  de  Glace. 

178  TeteNoir. 

179  Staubach  Falls. 

180  Engleberg. 

181  Interlaken. 

182  Falls  of  the  Giesbach. 

183  LakeThun. 

184  Thun. 

185  Castle    Rougemont,     Lake 

Thun. 

186  The  Gemmi  Pass. 

187  Valley  of  Zerinat. 
1S8  Monte  Rosa. 

189  The  Corner  Glacier. 

190  Mt.    Cervin,   on  the   Matter- 

horn. 

101  Martigny. 

192  Unterseen. 

103  Gorge  of  the  Trent. 

191  Hospice  Great  St.  Bernard. 

195  Sion. 

196  Louche  les  Bains. 

197  Dangerous  Passage  of  the  Bos- 

sons. 

198  Valley  of  Chamouni. 

199  Ascent  of  Mt.  Blanc. 

200  Chamouni  and  Mt.  Blanc. 

201  Summit  of  the  Buet. 

202  Tifenkasters  Grisons. 

203  Chateau  of  Orteiistein. 
2'*4  Pfopffers. 

205  Baths  of  Pfoeffers. 

206  Gorge  of  the  Tamina. 
2<»7  Annecy. 

208  Hotel  and  Baths,  St.  Gervais. 


63 


209  View  of  the  Muotta. 

210  Lausanne. 

211  Geneva. 

212  Castle  of  Chillon. 

213  Fribourg. 

214  Berne. 

215  fet-itue  of  Rodolph  of  Erlach 

Berue. 

GERMANY— THE  RHINE. 

216  Bridge  and  Quay  of  Cologne. 

217  Cologne  from  Deutz. 

218  Cathedral  of  Cologne. 

219  Bonn. 

220  The  Seven  Mountains. 

221  Drachenfels. 

222  The  Godesberg  Castle. 

223  Andernach. 

224  Gobi  en  tz. 

225  Khrenbreitstein. 

226  TheStolzenfelz. 

227  The  Cattle  Maxburg. 

228  Boppart. 

229  Bornhofen     and    the    Two 

Brothers. 

230  Le  Souris  (the  Mouse)  Castle 

and  the  Rhine. 

231  Tower  of  the  Cat 

282  The  Cat  and  the  Lorlei. 

233  The  Rhinefels. 

234  Castle  Reinfels. 

235  St.  Goar  and  St.  Goarhausen. 

236  Reichenberg. 

237  Oberwesel. 

238  Sfhoenburg. 

239  Gutenfels. 

240  Pfalz,  Caub  and  Gutenfels. 

241  Bacharach. 

242  The  Castle  of  Furstenberg. 

243  Lorch. 

244  Heimbach  and  Castle  Heim- 

berg. 

245  The  Castle  of  Sonneck. 

246  The  Castle  of  Reinstein. 

247  The  Castle  of  Falkenb^rg. 

248  The  Castle  of  Ehrenfels. 

249  Bingen. 

250  The  Tower  of  Rats,  Bingen. 

251  Rudesheim. 

252  The  Palace  at  Biebreich. 
2^3  Wiesbaden. 

2=>4  Mayence. 

255  The  Cathedral  of  Msyence. 

2-56  Jsle  of  Nonenth worth. 

257  Kreusnach. 

258  Frankfort-on-the-Main. 

259  Monument  lo  Guttenberg. 

260  The  Synagogue,  Frankfort. 

261  Hamburg.' 

262  Arcades,  Hamburg. 

263  Manheim. 
^64  Heidelberg. 

265  Ruined  Tow°r,  Heidelberg. 

266  Baden  Baden. 


ITALY. 

267    Panorama  of  Genoa. 
2*8    Panorama  of  Florence. 

Statue  of  Dante  and  Church  of 
the  Holy  Cross. 

270  Palace  Pitti. 

271  The  TTffizi  Gallery. 

272  Fountain  of  Neptune,  Boboli 

Garden. 

273  Gallery  of  Offices. 
974    Room  of  Nlobe. 

275  Tomb  of  Julian  de  Medicis. 

276  The  Campanile  and  Cathedral. 

277  Church  of  the  Grand  Madrede 

Dios  Turin. 

278  Panorama  of  Pisa. 

279  Th e  I >eani  n g  Tower  of  Pi sa. 

280  The  Baptistry,  Cathedral  and 

Leaning  Tower. 

281  Campo  San  to,  Exterior. 

282  Interior. 
2*3    Panorama  of  Venice. 

281  Venice  from  the  Bridge  Canon- 

ica. 

2<?5  The  Arsenal. 

•2PB  P.ridge  of  Sighs. 

287  Ducal  P»lace. 

2S8  Giant's  Staircase— Side. 
•289  "  —Front. 

290  La  Logia. 

291  Palace  of  the  Foscari. 

292  St.  Mark's  Church. 

293  St.  Mark's  and  Ducal  Palace. 

294  The  Brid  ge  of  the  Rial  to. 

295  ThePiazetta. 

296  Palace  Vendramin. 
207         "       Cavalll. 

298  "       La  Ca  d'Oro. 

299  Street  in  Venice. 

300  Panorama  of  Milan. 

301  Cathedral  of  Milan. 

302  —Interior. 

303  The  Simplon  Arch—       " 

304  Cathedral  of  Verona. 

305  Statue  of  William  Tell,  at  Lu- 

gano. 

306  LakeComo. 

307  Panorama  of  Bellaglo. 

ROME. 

308  Panorama  of  "R om  e . 

309  Rome  from  the  Tiberlne  Isle. 

310  Bridge  and  Castle  of  St.  An- 

gelo. 

311  Cathedral  of  St.  Peter's. 

312  "         "  Int'r. 

313  The  Chair  of  St.  Peter. 

314  Genius  of  Death,  by  Canova. 

315  Statue  of  Moses,  by  M.  Angelo. 

316  The  Vatican  and  Obelisk, 

front  of  St.  Peter's. 

317  Library  of  the  Vatican— Int'r. 

318  Gallery  of  Maps. 


64 


319  Gallery  of  the  Bras  Ncuf. 

320  Statue  of  Augustus  Cee^ar. 

321  "     Demosthenes. 

322  "     Mercury. 

323  Chamber  of  Busts. 

324  Gallery  of  the  Candelabras. 

325  The  Chiaramonti  Gallery. 

326  a  he  Statue  of  Diana,  Vatican. 

327  Statue  of  Venus 

328  Room  of  the  Greek  Cross. 

329  Statue  of  Perseus,  by  Canova. 

330  Group  of  the  Laocoon. 

331  The  Apollo  Bel virl ere. 

3b3   Room  of   the  Bernini  Villa 
Borghese. 

333  Room  of  Antique  Marbles. 

334  Statue  of  Venus  Genitrix. 

335  Gallery,  Palace  of  Colona. 

336  Arch  of  Septimus  Severus. 

337  "     Constantino. 

338  "     Titus. 

339  "    Janus. 

340  The  Coliseum— Exterior. 

341  "  —Interior. 

342  Roman  Forum. 

843  Forum  of  Trajan. 

844  The  Tempi  e  of  Vesta. 

345   Ruins  of  the  Temple  of  Jupi- 
ter. 
?46    Pyramid  of  Cains  Cestus. 

3 17  The  Tomb  of  Cecilia  Metella. 

318  Baths  of  Caracal  la. 

349  The  A p plan  Way. 

350  The  Pantheon. 

351  Church  of  the  Trinity  of  the 

Mont. 

352  Church  of  St.  John,  of  Lateran. 

353  "        " 
Interior. 

354  St.  Paul's  Outside  the  Walls- 

Interior. 

355  The  Capitol. 

356  Statue  of  Flora— Museum  of 

the  Capitol. 

357  The  Philosopher's  Room. 

358  Statue  of  the  Dying  Gladiator. 

359  Church  of  Maria  Maggiori. 

360  Falls  of  the  Tivoli. 

361  Falls  of  the  Terni. 

NAPLES. 

362  Bay  of  Naples  and  Vesuvius. 
303    Royal  Palace,  Naples. 

364  Villa  Real, 

365  Statue  of  A ristides— Museum. 

366  Venus  Callapygi. 

367  Room  of  Pmall  Bronzes. 

368  Temple  of  Serapis,  at  Pozzu- 

oli. 
869   Temple  and  Altar  of  Venus 

Pompeii. 

370   The  House  of  the  Questor. 
871    The  Villa  Diomede. 


372  Perspective  of  the  Basilica. 

373  The  Amphitheatre. 

374  Triumphal  Arch. 

375  The  Way  of  the  Tombs. 

376  House  of  the  Baker. 

377  House  of  the  Musicians. 

378  House  of  Cornelius  Rulb. 

379  Amalfl. 

380  Messina. 

381  Amphitheatre,  Syracuse. 

THE  CITIES  OF   NORTHEAST- 
ERN EUROPE. 

382  Antwerp. 

383  Church  of  St.  Nicholas,  Ghent. 

384  House  of  the  Batelier, 

385  Statue  of  John  Van  Eycke. 

386  Market  Place  Malines. 

387  Panorama  of  Brussels. 

388  House     of    Representatives, 

Brussels. 

389  Monument  of  the   Place   of 

Martyrs. 

390  The  Exchange. 

391  The     Quay    of  the     Rosary 

Bruges. 

392  Hotel  de  Ville  Audenarde. 

393  Panorama  of  Spa. 

394  "         of  Aix  la  Chapelle. 

395  Grand  Canal,  Rotterdam. 

396  View    on    the    Canal,    the 

Hague. 

397  Statue  of  William  the  Silent, 

Hague. 

398  The  Canal,  Amsterdam. 

399  Statue   of   Rembrandt,   Am- 

sterdam. 

400  Church  of  St.  Antonie,  Am- 

sterdam. 

401  The  Royal  Palace,  Berlin. 

402  The  Throne  Room, 

403  The  Royal  Chapel,  interior. 

404  The  Library. 

405  The  White  Chamber. 

406  Th  e  Staircase  of  Honor,  Royal 

Castle. 

407  The  G  a  1 1  e  r  y  of  Paintings, 

Royal  Castle. 

408  Facade  of  the  Old  Museum. 

409  Room  of  Antique  Models. 

410  The  Amazon,  by  Kiss. 

411  Palace  of  the  Prince  Royal. 

412  The  Cathedral,  Berlin. 

413  The  French  Church,  Berlin. 

414  Unter  der  Linden. 

415  Royal  Theatre. 

416  Interior  of  the  Museum. 

417  National  Monument,  Berlin. 

418  Royal  Palace,  Potsdam. 

419  Gallery   of  Paintings   (Sans. 

Souci). 

420  Marble  Gallerv.  New  Palace, 

Potsdam. 


65 


COPENHAGEN. 

421  Thorwaldsen's    Museum,   Co- 

penhagen. 

422  Statuary,  by  Thorwaldsen. 

423  Gauymede  with  the  Cup. 

424  Ganymede  and  the  Eagle  of 

Jupiter. 

425  Night, 
4'2Q    Morning. 

427  Christ. 

428  The  Apostles,  1. 

429  "  2. 

430  St.  John  Preach'ng. 

431  Statue  of  Thorwaldsen. 

432  Panorama  of  Christ  iaua. 

433  View  on  the  Canal, " 

434  Royal  Palace,  »• 

435  The  University,        " 

436  Cathedral  of  Upsala,  Sweden. 

437  The  Royal  Palace,  Stockholm. 

438  The  Church  of  St.  Catharine. 

439  The  Mose  Backe. 

RUSSIA. 

440  Panorama  of  St.  Petersburg. 

441  Winter  Palace. 

412  Statue  of  Peter  the  Great. 

443  The  Marble  Palace. 

441  Alexander  Theatre. 

415  St.  Peter's  Church. 

446  Castle  of  Peterhoff. 

417  Imperial  Library. 

448  St.  Catharine's  Church. 

4  >9  Church  of  St  Nicholas. 

450  "     Cazan. 

451  Cascades  of  the  Isle  of  Olga. 

452  The  Kremlin,  Moscow. 

453  The  Emperor's  Cannon,  and 

the  Baravidski  Gate. 

454  The  Great  Bell. 

CITIES  OF   SOUTHEASTERN 
EUROPE. 

455  Constantinople. 

456  The  New  Palace  of  the  Sultan. 

457  The  Arsenal. 

458  The  Mosque  of  Sultan  Soli- 

man. 

459  Gate  of  the  Minarets  at 

Galata. 

460  Palace  of  Dolma  Baytche. 
•JO  I    Mosque  of  Sultan  Achmet. 

462  St.  Sophia  and  the  Ottoman 

Door. 

463  Palace  of  the  Sublime  Porte. 

16 i  Castle  of  Asia,  Bosphorus. 
465    The  Golden  Horn. 

4 H6    Mosque  of  Faleth. 

467  Fountain  of  Top  Khanl. 

468  Porch  at  the  Entrance  of  the 

Harem,  Old  Seraglio. 


4'!9  Thpranla,  Banks  of  the  Bos- 
phorus. 

GREECE. 

470    Athens  and  Mars  Hill. 

47L  The  Acropolis,  the  Summit 
Crowned  with  the  Parthe- 
non. 

472  The  Parthenon. 

473  The   Portico   of  Adrian   and 

Acropolis. 

174  The  Ruins  of  Athens. 

475  Modern  Athens. 

476  Salzburg. 

477  Statue  of  Mozart. 

478  Cathedral,  Salzburg. 

479  Panorama  of  Innspruck. 

480  La  Neustadt,  New  Street, 

Innspruck. 

481  Mill  and   Gorge  of   Zwiesel- 

stein,  CEbzthot,  Tyrol. 

482  Vienna,  View  of  the  Graben. 

483  Imperial  Palace.  Vienna. 

484  Church  of  St.  Charles  Borro- 

meo,  Vienna. 

485  The  Belvidere. 

486  Vienna  Exposition  Buildings. 

487  St.  Stephen's  Church. 

488  The  Imperial  Palace,  Schon- 

brunn. 

489  The  Fountains,  Schonbrunn. 

490  Prague,  Panorama,  the  Neu- 

stadt. 

491  The  Hradschin,  Prague. 

492  Museum,    of  Sculpture,    Mu- 

nich. 

493  Museum  of  Paintin?. 

494  Bavaria  and  Rhumschalle. 

495  Ratisbon. 

496  Passau  on  the  Danube. 

497  Nuremberg. 

498  Old  Houses,  Nuremberg. 

499  Statue  of  Melancthon. 

500  House  of  Albert  Durer. 

501  The  Beautiful  Fountain. 

502  Panorama  of  Stutteartt. 

503  Dresden,  the  Bridge. 

504  Statue  of  Frederic  Augustus, 

Dresden. 

EGYPT. 

505  Cleopatra's  Needle,   Alexan- 

dria. 

506  Pompey's  Pillar. 

507  On,  or  Heliopolis. 

508  The  Nile  Boat. 

509  I  n  ter ior  of  a  N  i  1  e  Boat. 

510  Bridge  on  the  Nile. 

511  Citadel,  Cairo. 

512  Street  In  Cairo. 

513  Tombs  of  the  Caliphs 

514  Mosque  of  Amrou. 


66 


515  Fountain  of  Ablutions,  Am- 

rou. 

516  Mosque  o  fEl  Moyed,  Amrou. 

517  Palace  of  Choubra,  " 

518  "     Ghezireh,  " 

519  Pyramids  and  Sphynx. 

520  Approach  to  Karnac. 
f>'l    Karnac. 

522  Columns  of  the  Grand  Hall, 

Karnac. 

523  Colosse  of  the  Plains,  Thebes. 

524  Colossal  Statue  at  the  Mem 

nonum,  Thebes. 

525  Phil se. 

526  Pharaoh's  Bed,  Phil  re. 

527  Great  Temple,        " 

528  Sculptured  Doorway,  Philae. 

529  Temple  of  Edfou.     ' 

530  Obelisk  and  Propylon ,  Luxor. 

531  GreatTemple.MediuetHabos. 

532  Harbor  of  Assouan. 

533  Temple  of  Dandouro,  Nubia. 

534  "     Dak  k  eh, 

535  Great  Rock ,  Tern  pi  e  of  Ipsam- 

bul,  Nubia. 

538    Little   Temple  of  Ipsambul, 
Nubia. 

SYRIA  AND  PALESTINE. 

537  Sinai,  Mt.  Horeb. 

538  Jaffa,  or  Joppa. 
5'59    Lydda. 

540  Ramleh. 

511  Jerusalem,  from  Mt.  of  Olives. 

542  Church  of  th^  Holy  Sepulchre. 

543  Arch,   Via   Dolorosa,   E  c  c  e 

Homo. 

544  Jews'  Wailing  Place. 

545  Mosque  of  Omar. 
§46    Synagogue. 

547  Golden  Gate  or  Door. 

548  Damascus  Gate. 

549  Garden  of  Gethsemane. 

550  Tombs  in  Valley  of  Jehosha- 

phat. 

551  Tomb  of  Absalom. 


552  Tomb  of  St.  James  and  Zacha- 
rias,  Valley  of  J^hoshaphat. 

5-53  Tomb  of  the  Virgin, 
.554  "     David, 

555  Tombs  of  the  Kings,       " 

556  Bethlehem. 

557  Rachel's  Tomb. 

558  Women  of  Bethlehem. 

559  Hebron,  Mosque  of  Abraham. 
5HO          "        the  Reservoirs. 

561  Gorge  and  Convent,  Mar  Saba. 

562  The  Dead  Sea. 

583  The  River  Jordan. 

564  Bedouin  Chiefs  at  Jericho. 

565  Convent  at  Mt.  Carmel. 

566  Nazareth. 

567  Tyrian  Laundresses. 

568  Two  Women  Grinding  Corn. 

569  White  Ass  of  Syria. 

570  Turkish  Lady. 

571  Samaria— Ruins  of  the  Tem- 

ple of  Baal. 

572  Tempi  e  of  Jupiter,  Baalbec. 

573  Temple  of  the  Sun, 

574  The  Great  Columns.    " 

575  Cyclopean  Wa,ll  of  the  Great 

Temple,  Baalbec. 

INDIA  AND  JAVA. 

576  Views  in  India. 
577 

5<8 

579    Poplar  Avenue,  Screennuggur 

58.»    Ruins  of  Mart  und. 

The    Chnndi    Chouk,   principal 
street  in  Delhi,  and  40  other  views. 

Set  of  18  Java  views,  with  de- 
scriptive lecture. 

BRAZIL. 

581  CityofBahla. 

582  Commerce  Street. 

583  The  Bluffs  and  Upper  City. 

584  Church  ot  Bom  Fim,  from  the 

Portuguese  Hospital. 


Golden  Temple,  Umritsur. 
Delhi  Gate,  at  the  Fort. 


Class  XLII,  Centennial  Slides. 

PER  SLIDE,  60  CENTS. 

The  following  list,  selected  from  a  thousand  subj  ects,  will  assist  pur- 
chasers  in  getting  the  best,  and  such  as  will  prove  permanently  inter- 
esting. 


CENTENNIAL  CITY. 

1  Independence  Hall. 

2  Interior 

3  Old  Liberty  Bpll. 

4  Carpenters'  Hall. 


5  U.  S.  Mint. 

6  Masonic  Temple. 

7  Girard  College. 

8  Girard  Avenue  Bridge, 

9  Fairraount. 

10  "  Park 


67 


MAIN  BUILDING. 

920  North  Entrance. 

355  Opening  D^y,  Choristers. 

371  From  Machinery  Hall. 

815  M;»in  Avenue,  looking  East. 

873  North  Avenue,  East  End. 

1428  From  Northeast  Tower. 

2021  Chinese  Court,  Exterior. 
2203          "  •'       Interior. 

2128  Chinese  Round-top  Bedstead 

1480  Chinese  Carved  Bedstead. 

2037  Mammoth  Japan  Vase. 

2015  Japanese  Porcelain  Vas^s. 

2170  Japanese  Porcelain  Ware. 

2017  Japanese    Mirrors   and 

Bronzes. 

2167  Japanese  Bronze  and  Silver 
Birds. 

2018  Althof  &  Co's  Exhibit. 
2329  Egyptian  Section. 
2050  Austrian       " 

2110          "          Glass  Ware. 

2062          "          Porcelain  Ware. 

2009  Bohemian  Glass  Ware. 

1827  German  Bronzes. 

2127  Russian  Section. 

2233  "  Educational  Depart 
ment. 

1454  Italian  Section. 

1468 

1230  Italian  Terra-cotta  Ware. 

2301  Bro  wu  &  Go's  English  Crock- 
ery. 

2032  Doulton  Pulpit  England. 

2033  Daniel's  China  Court,  Eng- 

land. 

178  Lambert  Pottery,  England. 

943  Pompeian  Plate,  Elkinton. 

705  Queen's  Land  Court. 

2041  Swedish  Ornamental  Pot- 
tery. 

2218  Porcelain  Mantel. 

231  Gustotsberg  s  China. 

141)6  Scandinavian  Peasants. 

2362  The  Wedding  Ring. 

1497  The  New  Baby. 

1495  Baby's  Death. 

2387  The  Clock  Maker. 

2349  The  Dying  Elk. 

2307  Norwegian  Peasants. 

1198  Laplanders. 

230'i  Laplander  and  Reindeer. 

2189  Brazilian  Court. 

2178  Portuguese     Terra    Cotta 

Ware. 

2225  Spanish  Pottery. 

2224  Spanish  Metal  Work. 

2216  Peruvian  Mummies,  etc. 

1887  Mexican  Section. 

20fiO  Viti's  Alabaster  Vases. 

2081  "  " 

2082  French  Section. 
2282          "       Bronzes. 

2214  Shell  Work,  Bahama  Islands. 


376  N.  Eng.  Glass  Exhibit. 

2011  U.  S.  Chemical  Department. 

1526  Bryant  Vase,  Tiffany. 

2285  Screens,  etc.,  Netherlands. 

2*7  Swiss  Carving,  Cattle  Piece. 
2366       "       Ornamental  Carving. 

2100  Crystal  Fountain. 

249  Norwegian  Furniture,  Thir- 
teenth Century. 

431  Schroeder's  Carved  Pulpit. 

MACHINERY  HALL 

123  Exterior. 

817  From  Main  Building. 

966  South  Avenue,  Krupp  Gun. 

161  Corliss  Engine. 

808  North  Avenue,  looking  East. 

83  Transept. 

819  Souih  Avenue,  looking  East. 

U.  S.  GOVERNMENT  BUILD- 
IN  G. 

921  Exterior. 

1242    Main  Avenue,  looking  West. 

922  Model  U.  S.  Steamship,  An- 

tietam. 
930    War  Canoe,  and  Models. 

932  Group  of  Deer. 

933  Nevada  Minerals. 
651    Rodman  Gun. 
732    Monitor  Turret. 

AGRICULTURAL  HALL. 

329  Exterior. 

815  Interior,  looking  West. 

745  Main  Avenue. 

1181  California  Grape  Vine. 

801  Old  Time  Windmill. 

1114  Negatherinm. 

1381  Old  Abe,  Wisconsin  Eagle. 

898  Brazilian  Cotton  Exhibit. 

HORTICULTURAL  HALL. 

452  Exterior. 

1714  Horticultural  Hall  and  Foun- 
tain Avenue. 

737  Rhododendrons. 

325  Portico. 

1177  Miss  Foley's  Fountain. 

288  From  South  Entrance. 

276  Century  Plant. 

279  Banana. 

266  Phcenia  Doclvlifera. 

319  Letania  Verbonicas. 

269  Lemon  Tree. 

270  Orange  Tree. 

MEMORIAL  HALL.  / 

366    Exterior. 

305    Dying  Lioness. 


G8 


ART  ANNEX,  ITALIAN  DE- 
PARTMENT. 

1362  Group,  Lucifer,  etc. 

1778        "      Wrestlers,  etc. 

1730         "       Ophelia,  etc. 

1891         "       Alricane,  etc. 

1416         •'       Pharaoh's    Daughter, 

etc. 

1748         "       Soap  Bubbles,  etc. 
1418         "       Forced  Prayer,  etc. 
692         "       "Whisper  of  Love,  etc. 
1365         '«       Hail  Columbia,  etc. 
1901         "       Joy,  etc. 
1211         "       Girl  as  Butterfly,  etc. 

1110  Forced  Prayer. 

1)14  Love's  Messenger. 

1120  First    Impressions    of   Cold 

Water. 

1121  FlyiogTime. 

1123  Vanity  (silk  dress). 

1306  Vanity  (mirror). 

1174  Pharaoh  s  Daughter. 

1176  Orphans. 

1270  Joy. 

1278  Grief. 

2ROO  Joy  and  Grief. 

2263  Timidity. 

1284  Evening. 

17  6  Ruth. 

1431  Ophelia. 


1307  First  Call. 

194  Out  in  ihe  Rain. 

1196  13  id  la. 

1281  Christmas  Day. 

1283  Soap  Bubbles. 

1417  Water  Babies. 

1 159  St.  Martin  and  the  Beggar. 

1466  Feint  and  Tenderness. 

1152  Birth  of  Love. 

1268  Cupid. 

1149  Cold. 

BUILDINGS,  ETC 

222    Woman's  Pavilion. 

491    Interior    " 

1180    Kansas  and  Colorado  Build- 
ing. 

2043    Interior,  Kansas  and   Colo- 
rado Building. 
1815    Mrs.  Maxwell's  Exhibit. 

557    Log  Cabin  in  ye  Olden  Time. 

2>0    English  Com.  Buildings. 

D61    Japanese  Bazar. 

604    Swedish  School  House. 
1906    Jnt.  Conn.  Building. 
2084    View  of  t  he  Grounds. 
2198    Belmout  Avenue. 
2063    Statue  of  Columbus. 

State  Buildings.  General  Views, 
Foreign  Visitors,  etc. 


CLASS  XLIV.     SCIENTIFIC  SCIOPTICON  SLIDES. 

PER  SLIDE,  30  CENTS.       PER  HUNDRED,  $25.00. 

These  educational  slides  have  as  many  illustrations  on  each  as  the 
nature  of  the  subject  will  admit,  so  that  a  full  list  of  names  would 
more  than  fill  an  ordinary-sized  catalogue,  and,  therefore,  must  here 
be  omitted.  A  special  list  of  these,  and  others  that  are  in  process  of 
preparation,  may  be  looked  for  in  the  future. 

Names  of  Number 

Scleutilic  Series.  Illustrauo 

M-thematics 281 

piwisics 4(5 

Geology 202 

Anatomy 138 

Zoology 858 

Botany 614 

M  i  n  erdlogy , 182 

Technical  Mechanics  541 

Chemical  Technology 138 

Husbandry  and  Domestic  Economy 416 

History  of  Culture 

Pcn'ptare  and  Painting 

Ethnology 

Arch  itect  ure • 

A  selection  of  200  of  the  above  slides,  the  most  desirable  for  their 
general  interest,  giving  thousands  of  distinct  illustrations,  say  of  Ani- 
mal Life,  Botany,  Husbandry,  Culture,  Sculpture,  Ethnology,  etc., 
will  be  furnished  in  convenient  boxes,  for  $50.00. 


1301 


..      1018 
555 


Number  of 
Slides  in  kach  Set. 

5 
11 
11 
15 
31 
80 

5 
34 
10 
10 
61 
30 
40 
53 


SCIENTIFIC    SCIOPTICON    SLIDES. 


HISTORY  OF  CULTURE. 

PER  SLIDE,  30  CENTS. 

The  numerals  referred  to  in  German  at  tho  bottom  of  each  slide  are 
so  small,  and  so  irregularly  distributed,  th*t  they  are  not  easily  traced, 
but  the  objects  are  mostly  represented  in  horizontal  rows,  »nd  this 
order  being  observed  in  the  enumeration  leads  directly  to  their  re- 
cognition. Objects  not  arranged  iu  this  order,  sue  i  as  rdlos,  orna- 
ments, utensils,  etc.,  are,  nevertheless,  named  in  rows,  so  as  to  be  as 
little  exceptional  as  possible.  The  liar  (||)  indicates  the  beginning  of 
a  lower  row  at  the  left  hand. 

To  examine  the  German  lists  on  the  slides,  a  magnifying  glass  can 
be  used  to  advantage. 

1.— Stone  Period. 

12-47.— Implements  of  Stone.  1-11,  4^-57.— Of  Deer  Horns  and  Bones. 
1(74.78.— Prehistoric  Skulls.  72.— Yellow  \mberPearl.  73.— Stone  Ham- 
mer. 71.— Necklace  of  Teeth.  1  58-70.— Vessels  of  Clay. 

2.— Ancient  Relics  from  Alpine  Lakes. 

1  (centre).— Prehistoric  Lacustrine  Pile  Village,  restored.  2-4  (abovf). 
— Present  State.  5  70  (right  and  left). — Utensils  taken  from  the  Bottom 
of  Lake  Brienze.  71-88  (below).— From  other  Swiss  Lakes.  89,90.— 
From  Pile  Buildings  in  Wismar.  91-95.— From  Italian  Lakes. 

3.— Bronze  Period. 

1-15.— Axes.  ||  26-31.— Daggers.  32,  33.— Sword  Hilts.  24,  25.— Arrow 
Points.  16-19.— Knives.  20.— Saw.  21.— Awl.  22.— Needle.  23.— Fish- 
hook. ||  34,  35.— Shields.  36-52.— Jewelry.  63.— Comb.  ||  58,  59.— Urus. 
54.— Clay  Bowl.  55-57.— Golden  Vessels. 

4.— Graves. 

9-16.— Hill  Graves  and  Ash  Urns.  \  8.— Grave  for  Master  and  Slaves. 
17,  18  —Graves  with  Unburned  Corpses.  7.— Orkney  Island  Grave. 
19.— Teutonic  Burial  Tree.  ||  5.— Grave  of  Huns  in  Mecklenburg.  4.— 
Cromlech  of  Stennis  (DruidioU  Altars).  6  —Giants' Enc  osure  iu  West 
Gothland.  ||  2, 3.— Fairy  Grottoes  at  Saumur.  1.— Grave  of  Huns  iu 
feaxony. 

5.— Egypt. 

3.— Priestess.  4.— Priest.  9.— Ethiopian  Queen.  2  —Egyptian  Queen. 
5.— Court  Officer.  1.— Pharaoh.  6.— Kan  Carrier  7.— Judge.  8.— Body 
Guard.  ||  II,  12.— Egyptian  Costume*.  H,  14 —Modern  Numidians. 
10.— Distinguished  Egyptian,  io-17.— Border  Nationalities. 

69 


70 

» 

6.— Egypt. 

SO.— Stone  Pillow.  1-10.— Insignia  of  Royalty.  31-33.— Neck  Collar*. 
34-39.— Ornaments.  40-41.— Amulets.  46,  47.— Seals.  48,  49.— Sandals. 
I;  ri-22.— Ornamental  Furniture.  24-30,  4 x— Musical  Instruments.  51- 
66.— Tools.  ||  70-83— Vessels.  81-90.— Kitchen  Utensils.  67.— Scales.  6S, 
«{)._  Weights.  91.— Lamp.  ||  92-97.— Toilet  Set.  106.— Palanquin.  105.— 
Harness.  ||  103.— Wagon.  101.— Whip.  98-102.— Furniture.  107.— Pian 
of  a  House.  23. — Mummy  Sepulchre. 

7-— Fgypt. 

17  (at  the  left).— Writing.  18, 19.— Names  ^n  Rings.  13.— Caske  for 
the  Dead.  9,  10.— Mummy  Heads.  11,  12.— Embalmed  Animals.  7.— 
Rock  Chapel.  8.— Mausoleum.  ||  2  (centre).— Cleopatra's  Needle.  1.— 
Interior  i>f  the  Great  Pyramid.  ||  16  (at  the  right).—  Hieroglyphics. 
5— Entry.  4.— Front  of  Palace.  ||  20.— Astronomical  Tables.  15.— Apis. 
14.— Sphynx.  6.— Nile  Bark.  3.— House. 

8.— Egyptian  Life. 

1.— Agriculture.  |  2.— Trades  (Smith,  Potter,  Mason,  etc.).  J  3.— 
Traveling,  Reception,  Visiting. 

9.— Egyptian  Deities. 

1.— Nod.  2.— Mu.  3,-Tefenut.  4  —  Seb.  5.— Isis.  6]— Anubis.  7.— 
Hathor.  8.— Thoth.  9.— Saf.  10.— Se  back.  ||  17,  18.— Mummies.  14.— 
King  Sethos  Offering  Sacrifices.  13.— Ethiopian  Deity.  11.— Horus. 
12.— delk.  1|  15.— Court  for  the  Dead.  16.— Funeral. 

1O.— Assyria. 

1,  2.— Assyrians.  8,  4.— Court  Officials.  5.— King,  fi  —Fan  Carrier. 
7.— Armor  Bearer.  8.— High  Priest.  9.— Butler.  ||  10.— Persian  King. 
U,  12.— Persians.  13-16.— Medes.  17, 18.— Body  Guards. 

11. — Assyria. 

1  (centre). — King's  Palace,  restored.  j|  4-7  (left). — Head  Coverings  for 
Kings.  8,  9.— For  Priests.  35.— Harness.  5J-59,  4»M9  —  VeK.srls.  50.— 
Bell.  13.— Stone  Prayer  Cylinder.  36-45.— Furniture.  |  10, 11  (right). - 
Neck  lace  and  Sceptre  of  Priest.  51-5V-  Axes.  34.— Officer's  staff.  3)- 
3;}. —Weapons.  14-28.— Jewelry.  29.— SanJal.  12.— ^acred  Vessel.  2.— 
King  on  His  Throne.  3.— Head  of  a  King.  64.— Waguii.  55.— Persian 
Wagon. 

12.— Assyria. 

2.— Feroher.  3.— Dagon  1.— Nisrock  and  the  Sacred  Tree.  7.— 
Astarte.  4.— Nergal.  10.— Salma  mssar  III.  ||  5,  6.— Deities  at  Nim- 
rud.  8.— Altars  of  the  Magi.  9.— King  Sanherib.  ||  11-16.— Assyrian 
Liifcf.  17.— Rock  Inscriptions. 

13.— Arabia  and  Phoenicia. 

l_3._Arabs.  4.— Pho3nic  an  Woman.  6,  7.— Northwestern  Asiatics 
8.— Worn  m  of  « Cyprus.  5.— Phojnician.  9.— Philistine.  ||  10-16.— He- 
brews. 17.— Jewish  Wagon. 

14.— India. 

7-17. -Jewe'rv.  18-20— Buildings.  ||  32.— Axe.  1,  2.— Costumes.  31— 
Buddhist  Memorial  Temple.  ||  35.— Standard.  34,  3,>.—  Musical  Iti^tru- 
ments.  3-'i.— Sculpture  at,  Ellora.  37.— Fea^t  of  JuggurnaUi.  J.-31.— 
Cjay  Vessels. 

IX.— India. 

1  — Brama,  Vishnu  an  1  La;'kshml.  3.— Mahadeva  and  Bhavanf. 
2. — Brahma  siud  Saras wati.  I  5. — i  aroopansamy.  8. —Adoration  of 
DeceMse  1  Barents.  6.— Breemun.  9.—  B.uldha  ||  12.— Sacred  Pillar. 
10.— Vadschrapaui.  13.— Aijunal.  7.— Sacred  Bull.  14.— Aijushi.  4.— 
11.— Japanese  Prayer  Wheel. 


1G. — Grecian 

1.— Chiton.  2— Eximis.  3,  4.— Himatiou.  5.— ChlamK  C  —  Child- 
ren's Wear.  7,  8.— L.dy's  Chiton.  9.— Doric  Chiton.  10.— Combination 
Chiton.  ||  11-19.— Festival  Costumes. 

17.— Greece. 

36-38.— Baskets.  '1-19.—  Jewelry,  etc.  |  35  —Wash  Basin.  77,78.— 
Theatre  Masks.  42-7L.— Table  Dishes.  ||  25--M.—  Furniture.  !|  75,  70.— 
Altars.  39-41.— Household  Utensils.  20,  24.— Musical  Instruments. 
7J,  74.— Sceptres.  72.— Tools. 

18.— Greece. 

lt  3.— Supposed  Ground  Plan  of  Houses  of  Homeric  and  Later  Period. 
2.— Remains  of  Royal  Palace  at  Ithaca.  I!  4.  6,  5.— Court,  Country  House 
and  Entry,  restored.  ||  7,  8.— Group  of  Grecian  Houses,  restored.  9.— 
P^an  of  Greek  Town. 

19.— Grecian  Life. 

1.— Childhood.  2  4.— Gymnastic  Exercises.  5 —Student.  0.— Peda- 
gogue. 7.— Hospitality.  ».— Marriage.  ||  9-11.— Female  Life.  12.— Mourn- 
ing lor  tie  Dead. 

20.  —  Grecian  Life. 

1  —Casting  Statues.  2.— Armor  Smith.  3.— Pottery.  ||  4  —Farmer. 
5.— Hauler.  6.  Markelman.  7.— Fisherman.  8.— City  \  chicle. 

21.— Grecian  Life. 

1.— Priestess.  2.—  Sacrifice •».  3.— Danseuse.  4.— Flute  Player.  1  5-7.— 
Social  Life.  8.— Dramatic  Instructor  (sitting). 

22. -Classical  Deities 

1.— Rhea.  2.— Saturn  3.— Sibyl.  4.— Jupiter.  5  -Juno  6.— Neptune. 
7.— Vesta.  8.  Pluto.  9.— Ceres.  ||  10.— Bacchus.  11.— Minerva  12.— 
Apollo.  13.— Diana.  U.— Mars.  15.— Venus.  M— Cupid.  17.— Mercury. 
18.— Vulcan.  |  19.— ^sculapius.  20.— Hygeia.  21.— Vertumnu*.  22.— 
Melpomene.  23.— Erato.  24.— Thalia.  25. -Ganymede.  26.— Ba  chantes. 
27.— Silenus.  1  28.— Bacchanal  Procession.  29.— .Triton  and  Nereids. 

23. — Asia  Minor— Costumes,  Etc. 

7.— Phrygian.  6,  9.— Lydian.  J,  2.— Phrygians  (sitting).  4.  5.— Greek 
Armenian.  10, 11.— Asia  Minor.  ||  1<,19.— Sassanides(H  rsemeu).  8,3.— 
Phrygian  Group.  12-17,  2.-21.— Arub'au  Utensils  and  Vessels. 

24. — Roman  Costumes. 

1,  2.  — Etruskan.  5,  3.— Tunic.  4.— Toga.  6.— Fema'e  Dress.  7.— 
Priestess.  «.— Lictor.  9.— Peasant.  ||  18, 17.— Galic.  12.— General,  A.D. 
430.  14.— Consul.  11.— G  ilia  Piacidia.  10.— Valeutmian  III.  13.— Co^- 
sul.  15. — Circus  Servant. 

25.— Roman  Life. 

1,  2.-Ladles.  3.— Ball  Playing.  4.— female  Artist  (sitting).  [  5.— 
Actors.  6.— Gladiators.  7.— Court.  8.— Public  Sacrifice. 

26.— Roman  Buildings. 

1.— Ground  Plan  of  House  in  Pomp-ii.  2,  3.— Ground  PHn  and  Sec- 
tion of  Roman  Houses.  10.— Bath.  J 1.— Amphitheatre,  Pompeii  (cross 
section).  12.— Sena  Stabilis  at  Hercuianeum.  ||  4,  5,  6.— Houses  aud 
Girden  at  Pompeii,  restore  I.  ||  7.— Store.  8,  9.— Plan  of  Palace  and 
Hall  of  Diocletian. 

27. — Roman  Furniture. 

2.— Toilet  Articles.  3.  — Mirrors.  4.— Ornamental  Pins.  14.— Dice. 
5-7.— Rings.  12, 11—  Keys.  11.— Bathing  Utensils.  15-19.— Clay  Vessel-. 
20.— Seals.  ]|  1.  — Writing  Mater.als.  8,  9.  — Perfum  ry  Boxes.  10.— 
Comb.  ||  21-30,  44-40.— Kitchen  Utensils.  32.— Scales.  33.— Weights. 
31.— Bucket.  35.— LanUr-i.  3'J.— Sickle.  ||  31,  37.— Marble  Vase  an  I 
Table.  38,  39.— Lamtjs.  4J,  43.— Chairs.  41.— i'ripod.  40.— Candelabra. 


72 

28.— Ancient  Italy  and  Etruria— Celts. 

13- 107.— Relics  of  the  Iron  and  Bronze  Peri  >d.  109.— Bronze  Chair  of 
King  Dagobert.  108.— Icelandic  Chair,  jj  ;M2.— Etruscan  Antiquities. 
1,  2.— House  Urns,  Ancient  Italy. 

29.— Byzantium,  Persia  and  Scythia. 

1-3.— Emperor  Justinian  and  Staff.  4,  5.— Empress  Theodora  and 
Court  Ladies.  (5-8. — Ancient  Sclavouian  and  Russian  Costumes.  ||  9. — 
W.  stern  Europe,  B.C.  10.— Da<-ian.  11.— Duke  of  the  Langobards,  wiih 
Surroundings.  12.— Frank.  13.— Scythians. 

SO.— Mediaeval  Dress  and  Ornaments. 

1.— Emperor  Henry  the  Holy.  2.— Emperor  Frederick  I.  3.— Queen 
Berengaria  of  England.  4,  5.— Dress  in  the  Thirteenth  Century.  0,  7.— 
Dress  (about  131u).  8.— Italian,  Fourteenth  Century.  ||  9, 10.— Nobles, 
Fourteenth  Century.  11.— Bell  Girdl*  (14(X).  12.— Female  Costume 
(1430).  13.— Philip  the  Good  of  Burgandy.  14.— Lady  at  the  Court  oi 
Charles  the  Bold.  Li.— Citizen  ( 1470) . 

31. — Hfcdiceval  Fashions. 

1,  2.— Students,  Sixteenth  Centurv.  3.— Dancing  Couple  at  a  Patri- 
ci  ,n  Ball  (1510).  4.— Marring  *  (15-iO).  5.— Royal  Bride  and  Attendant 
(155'»).  6.— Bandit  (1560).  ||  7,  8.— Town'-  People  (1570).  9.— Spanish 
Gentry  (1580).  10.- French  Lady  (1590).  11.— Italian  Lady  (1590).  12.- 
Hungarians.  13.— Turk.  14.— Russian. 

32.—Sfedi<eval  Fashions. 

1,  2.— Netherlands.  3.— French  (1310).  4.— Louis  XIV  and  Queen, 
o,  6.— Ge..tleiuan  and  Lady  of  Fashion  (1690).  7.— Nuremberg  Council- 
man (1700).  I  8.— Common  People  (1740)  9 —Gala  Dress  at  Cinrt.  of 
Berlin.  10.— Costumes  (French  Revolution).  11.— Court  Costume  (1800). 
12.— A  la  Grecque  (18UO). 

33.— Head,  Hair  and  Neck  Dress,  from  15OO  to  18OO. 

1,  2.— (1500).  3.— Linen  Hood  (1510).  4-6.— Neck  Ruffling  and  Cap 
(1530  to  1560).  U  7.— Broad  Neck  Ruffle  (1590).  8.— Queen  Elizabeth  (16uO). 
9-12.  — Collars  and  Hair  Dress  (1620-1630).  ||  13.  — Collar  (1660).  14.— 
Fur  Hood  (1670).  15.— Knlittd  Hood.  16.— Neckerchief  and  Peruke 
(Wig).  17.— Empress  Claudia  Felicitas.  18.— Elongated  Peruke  (1690). 
||  19.— Femaie  (1700).  20,  -Jl.—PeiuRe  (1720-1750).  22.— Hair  Bag.  23.— 
Queue.  24.— Female  Ha.r  Dress  (1800). 

34.—Mediceval  Building  Arts. 

1.— Plan  of  Con  vent  of  St.  Gall  (Ninth  Century).  2.— Plan  of  Ancient 
Cantle  at  Nuremberg.  3.— View  of  Hame  (Fineenth  Century).  ||  6.— 
Town  of  Forcheiru  (1632).  7.— Lake  House  sit  Nuremberg.  ||  4.— Old 
Plan  of  Wartburg  Castle.  5.—  Nuremberg.  8.— Manheim. 

35.—Mediceval  Building  Arts. 

1,  2.— Old  German  House  Urns.  4,  3.— Mediaeval  Ground  Plan  and 
Dwelling  at  Hanover.  5,  6. — Ground  Plans,  Dwelling  at  Goslar, 
Ptlace  at  Venice.  7. —Dwelling  at  Le  vtans  (Fifteenth  Century). 
||  8.  9— Citizen's  and  Noble's  Residence,  Nuremberg  (Sixteenth  Cen- 
tury). 10.— Town  Hall  at  Augsburg. 

36,—Mediceval  Building  Arts. 

1 —Female's  Apartment  (Fifteenth  Century).  2.— Tavern  of  the 
Golden  G«>ose,  Nuremberg  (Sixteenth  Century).  3.— Spiral  Staircase, 
Castle  of  Duke  of  Dunois  ||  I.— Hall  of  Nnnies.  Town  Hall  at  Augs- 
burg. 5.— Ante-Chamber  in  the  Belvidere  Palace  of  Prince  Eugene  at 
Vienna. 


73 

37.— Mediaeval  Furniture  and  Utensils. 

10-45  (scattered).— Furniture,  Jewelry  and  Vessels  of  the  Fifteenth 
Century.  8.— House  Organ  (1527).  9.— Chandelier  (Sixteenth  Ceotury). 
|  3^  4.— Cupboards  (Fiiteeiith  and  Seventeenth  Centuries).  7.—  St<>ve. 
H.— Table.  24.— Clock  (Sixteenth  Century).  ||  1, 2.— Chairs  (Twe'fth  and 
Sixteenth  Centuries).  44.— Bound  Book.  10.— Leather  Trunk.  11.— 
Iron  Trunk.  5.— Liquor  Stand. 

38,— Trades  and  Professions— Institutes  of  Learning . 

].— Pewterer.  2.— Coppersmith.  3.— Silk  Embroiderer.  4.— Bathing. 
5.— Physician  (1566).  ||  6  School  (1520).  7.— Fencing.  8.— Lecture  Room, 
Tubingen  University  (Seventeenth  Century).  ||  9.— Store.  11.— Bear 
and  Boar  Hunt.  10.— Counting  Room  (Sixteenth  Century). 

39.— Social   Condition  and  Amusement*. 

1.— Departure  of  a  Knight  (1300).  2.— Social  Entertainment  (134"). 
3.— Dinner  Table  of  a  Noble  (1480).  4.— Travelers  and  Highwavmeu 
(1530).  !|  5.— Shrove  Tuesday  (1580).  6.— Ball  (1640V  7.— Morning  Devo- 
tion (1780).  8.— Evening  Social  Entertainment  (1810). 

4O. — Amusements. 

1.— Court  Ball  (1560).  2.— Tournament.  !!  4.— Fireworks  (1680).  3.— 
Royal  Hungarian  Herald.  5.— Theatre  (1630>. 

41. — Social  Condltlonand  Amusements. 

1.— Village  Church  Festival  (1535).  1  2.— Nuremberg  Runner.  3.— 
Schuetzenfest  (1614).  4.— Nuremberg  Orator. 

42. — Social  Conditions  and  Amusements. 

1-19.— National  Costumes.  |  20.— Sword  Dane-.  21  —English  Races. 
22— Roman  Carnival  ||  23.— Passion  Piay  at  Oberammergau.  21.— 
Spanish  Bull  Fight.  25.— Russian  Inclined  Ice  Road. 

43.— Court  and  State  Festivals. 

1.— Emperor  Charles  VII  Entering  Munich.  ||  2.— Funeral  of  Countess 
Hedwig.  ||  3.— Emperor's  Return  after  Coronation.  4.— Festival  at 
Frankfort  after  Coronation.  ||  5.— Coronation  of  Empress  Leonora 
(1630).  6.— Imperial  Diet  in  Poland. 

44.— Insignia. 

1  (centre).— Roman  Catholic  German  Emperor  in  Full  State  Dress. 
2-5.— Imperial,  Hungarian,  Iron  and  Bohemian  Crowns.  ||  6.— Imperial 
Gloves.  8.— Sword.  9.— Sword  of  St.  Mauritius.  7.— Imperial  Sandals. 
|  10.— Aral Dalmatica.  11.— Imp. rial  Mantle.  12.— RomisaDalmatica. 

45. — Coats  of  Arms  from  Thirteenth  to  Fifteenth  Century. 

1-7.— Heraldic  Colors.  8-11.— Fur  Shields.  j|  12-22.— Shield  Divisions. 
||  £3-33.— Simple  Es-utcheons.  ||  34-57.— Ancestral  German  Dynasti ; 
Escutcheons.  ||  60-65.— Escutcheons  from  Thirteenth  to  Eighteenth 
Century.  58,  59.— Family  Monograms. 

46.— Coats  of  Arms. 

12.— Austria.  13.  — Hungary.  5.  — Wirtemberg.  2.  — Prussia.  6  — 
Baden.  14. — Russia.  15.  —  England.  ||  Ib. — France.  7. — Mecklenburg. 
3.— Bavaiia.  1.— German  Empire.  4.— Saxony.  8.— Hesse.  17.— Italy. 
||  18.— Spaiu.  19— Portugal.  9.— Saxe-Coburg-Gotha.  10— Saxe-Wei 
mar.  11.  — Brunswick.  20.— Sweden  and  Norway.  21.  — Denmark. 
||  22.— Netherlands.  23.— Belgium.  24.— Greece.  25.— Roumania.  26.— 
Switzerland.  35.— Papal  Stai  es.  27.— Turkey.  fl  23.— Persia.  29.— China. 
30.— Japan.  31.— United  States  of  America.  32.— Mexico.  33.— Brazil. 
3  i.— Australia. 


74 

47. — Spanish  Inquisition. 

1  (centre).— Chamber  of  Torture  (Fourteenth  Century).  2-10.— Its 
Implements  of  Torture,  viz. :  (Left)  2.  Stocks;  3.  Tar  Pan  ;  4.  Hamper 
Stone;  5.  Foot  Fetter;  (right,)  6.  Spiked  Hare;  7,  8.  Executioner's 
Sword  and  Scabbard;  9.  Fiddle;  10.  Torture  Mask  ||  11 —Inquisition 
by  Torture.  !:{.— Execution  of  Insurgents  at  Prague,  June  2'lst,  1621. 
12.— Court  Room  (Fifteenth  Century;. 

48.— Ecclesiastics. 

1.— Byzantine  Priest.  2.— Bishop  in  Full  Regalia.  3.— Bishop  in 
Mass  Canonicals.  4.— Dean  of  Cathedral.  5 —(Seated)  Cardinal.  6  — 
Deacon.  7.— Secular  Priest.  8.— Armenian  Bishop.  9.— Ru>sian  Pa- 
triarch Nikon.  1U.— Italian  Abbot.  11.— Protestant  Clergyman.  ||  12.— 
Carthusian  Monk.  13.— Benedictine.  14—  Capuchin  Monk.  15,  16.— 
Dominicans.  17.— Franciscan.  18.— Jesuit.  19.— (Sitting)  Carmelites. 
20.—  \U£Ustinian  Eremite.  21.  — Franciscan  Nun.  22.  — Nun  of  St. 
Bridget.  23.— Dominican  Nun.  24.— (Sitting)  Nun  of  Port  Royal.  25.— 
Carmelite  Nun. 

49.— Royal  European  Orders. 

1.— Order  of  the  Golden  Fleece  (Fifteenth  Century).  2.— Secular 
Order.  8.— Clerical  German  Knight  (Sixteenth  Century).  4.— Knight 
of  the  Garter  (Seventeen t,h  Century).  5.— Grand  Master  of  the  Knights 
of  St.  John.  6.— Knight  of  the  Order  of  the  Holy  Ghost.  7-30  (bor- 
der).—Badges  of  Mediaeval  Knighthood  Orders. 

5O—  Church  Furniture. 

1.— Altar  in  St.  Chapelle,  Paris.    2— High  Altar  in  Church  of  St. 
Elizabeth,    Marburg.     3. — Sacrarium,  Vienna.    4. — Choir  Seats,  Hos- 
pital Church,  Stuttgart.      ||  5.— Baptistery.    6  —Baptismal  Font.    7.- 
Stall.    8.— Pulpit  of  Church  of  the  Institute,  Stuttgart. 

51. — Sacred  Vessels  and  Church  Furniture. 

1.— Ducal  Goblet  'Eighth  Century).  2.— Goblet  (U66).  3 —Plan eta, 
St.  Bernard  (Twelfth  Century).  4.— Planeta  (Fifteenth  Century).  5,  6.— 
Episcopal  Rings.  7.— Rationale  (Fourteenth  Century).  8  —Mitre  of 
Thomas  a  Becket.  9. —Mitre  (1500).  ||  10.  — Reliquary  (Tenth  Cen- 
tury). 11.— Portatile  (Twelfth  Century).  12,  13.— Crozier  (1471).  14.— 
Altar  Candlestick.  15.— Mass  Pitchers  (Tenth  Century).  ||  16.— Cen- 
ser (Twelfth  Century).  17.— Holy  Water  Kettle.  18.— Procession  Can- 
dlestick. 19.  — Crucifix  (Twelfth  Century).  20.— Ciborium  (for  the 
Sacred  Wafer)  (Thirteenth  Century).  21.— Oil  Receptacle  (bird  form). 
22.— Aqua  Manile  (Ninth  and  Tenth  Centuries). 

52. — Kites  and  Sacraments, 

1.— Sepulchres  in  the  Catacombs.  2.  3.— Catholic  Sacraments  (Fif- 
teenth Century).  ||  4.— Requiem  for  the  Dead.  5.— Burial.  6.— Pro- 
testant Communion  (Sixteenth  Century).  ||  7.— Protestant  Baptism 
(Eighteenth  Century).  8,  9.— Russian  Baptism  and  Christening. 

53» — Superstitions. 

1_6.  —  Amulets.  10,  11.— (Centre)  Festival  of  Witches,  Alchemist. 
9.13.— (Left)  Horoscope,  Theosaphical  Ring.  7,8.— (Right)  Key  of  Theo- 
phrastus  Paracelsus.  12. — Zodiac  Man. 

54.— Auto  de  Fe. 

(After  a  Contemporaneous  Painting.) 

5!t. — Modern  Developments. 

1.— Room  in  Grand  Ducal  Palace,  Schwerin.  5  —Turner  Hall,  Leip- 
zig (1863).  2.— Terrace.  Ducal  Palace.  Schwerin.  ||  3.— S  'hiller  Festival, 
Munich  (1859).  6.— Rotunda,  Exhibition  Building,  Vienna  (1873).  4.— 
Artists'  Festival,  Weimar  (1863).  ||  7.— Crysfal  Palace,  Sydenharn. 
9.— German  Colony  of  Blumenau,  Southern  Brazil.  8.— Masquerade 
Ball  at  Paris  Grand  Opera  House. 


ZOOLOGY. 

PER  SLIDE,  39  CENTS. 

The  objects  on  each  slide  are  named  in  rows,  as  in  Class  XLV.  In 
some  cases  the  rows  are  made  fewer  and  more  readily  traceable  by 
including  groups  between  the  more  distinct  lines  of  separation. 

1. 

8.  Magot.  9.  Mandrill,  il.  Black  Roaring  Ape.  13.  Apella.  Skulls— 
10.  Of  Baboon.  4.  Of  an  Old  Gorilla.  3.  Of  Young  Chimpanzee.  5.  Of 
Young  Gorilla,  |  1.  Skeleton  of  Young  Orang-Outang.  6.  Kahan.  7. 
Mona.  12.  Koaita.  15.  Uistiti.  2.  Chimpanzee. 

2. 

1.  Loris.  2.  Paw  of  Loris.  3.  Skullof  Loris.  5.  Skull  of  Flying  Maklk 
21.  South  African  Reed  Mouse.  18.  Shrew  Mouse.  22.  Skull  of  Moun- 
tain Field  Mouse.  8.  r-keieton  of  B  it.  13.  Skull  of  Horse  shoe-nose. 
I  ri.  Finger  Animal.  20.  Skull  of  Water  Shrew  Mouse.  14.  Skull  of 
Pug  nosed  Bat.  18.  Skull  of  Mole.  11.  Ear  Bat,  flying.  23.  Canada 
Mole.  9.  Head  of  Vampire.  |  4.  Maki.  17.  Mole.  12.  Pug-nosed  Bat, 
cringing.  10.  Ear  Bat,  hanging.  7.  Flying  Dog  or  Kalong.  15.  Hedge- 
hog. 16.  Skull  of  same. 

3. 

1,  2.  Squirrel  and  Skull.  3,  4.  Marmot  and  Skull.  5.  Fat  Dormouse. 
18.  Porcupine.  7.  Beaver.  11.  Pouch  Rat.  9,  I1),  8.  Fore  Foot,  Hind 
Foot,  and  Skull  of  Beaver.  J  14.  Wood  Mouse.  22.  Chinchilla.  19. 
Guinea  Pig.  15.  Skull  of  Field  Mouse.  13.  Hamster.  16.  Lemming. 
I  17.  Teeth  of  R*t.  12.  Jerb">a.  6.  Skull  of  uormouse.  20.  Agouti. 
••21.  Male  Rat.  B  25.  Skull  of  Hare,  23.  Paca.  21.  Capybara  (Lagomys). 
26.  Hare. 

4. 

1.  Lion.  4.  Tiger.  5.  Jaguar.  |  3.  Skull  of  Lion.  7.  Serval.  8,  9. 
Wild  Cat  and  Skull  of  Cat.  2.  Lioness.  13.  Skull  of  Hyena.  6.  Leo- 
pard. 8  10.  Lynx.  12.  Spotted  Hyena.  11.  Skull  of  Lynx.  14.  Indian 

Leopard. 

5. 

1.  Striped  Hvena.  3.  Wolf.  5.  Prairie  Wolf.  11.  Genet.  13.  Ich- 
neumon. |  2  Dog  of  the  iJesert.  4.  Wolf's  Skull.  7.  Brazi  ian  Fox. 
12.  Pine  Marteu.  14.  Rasse.  16,  20.  Skulls  of  Marten  and  Fish  Otter. 
H  6.  Jackal.  10.  Civet  8.  Fox.  a.  Fennec.  15.  Marten.  17.  Weasel. 
18.  Polecat.  19.  Fish  Otter. 

75 


76 

6. 

1.  Ermine.  13.  Sknll  of  Bear.  9.  Roccoon.  4.  Honey  Badger.  5. 
Rtii  kinjj  badger.  2.  Glutton.  8.  Skunk.  (>.  Badger.  8.  Glutton's 
Skull.  10.  Cuatl.  15.  Bintnrong.  |  16.  Kinkajou.  11.  Brown  Bear. 
12.  Fore  and  Hind  Foot  of  Bear.  14.  Polar  Bear.  20, 17.  Seals.  19.  IS. 
Above,  Skull  and  Skeleton  of  t-eal. 

7. 

1.  Sea  Lion.  2.    Walrus.    15.  Skull  of  Hippopotamns.    3.  Skull  of 
Walrus.    |  7.  Tapir.    5.  Rhinoceros.    6.  Skull  of  Rhinoceros.    8.  skull 
of  Tapir.    |  ll.  Donkey.    11.  Emgalo.   4.  Rock  Badger.    13.  WildBoar. 
10.  Skull  of  Horse,    t*.  Horse.    12.  Zebra. 

8. 

2.  Elephant.    6.  Skull  of  Babirou«sa.    6.  Stomach  of  a  Ruminant. 

4.  Wild  Hog.    1.  Hippopotamus.    ||  10.  Bison.    12.  sh-  ep.    3.  Skull  of 
Young  Elephant.    7.  Bull.    |  9.  Buffalo.    13.  Moufflon.    14.  Goat.    11. 
Musk  Ox.    8.  Skull  of  Ox. 

9. 

6.  Gnu.  2.  Chamois.  6.  Elk.  7.  Reindeer.  |  1.  Wild  Goat.  4.  Ga- 
zelle. 3.  Autelope  of  Canaa.  11.  Skull  of  Musk  Deer.  8.  Stag.  |  1J. 
Dromedary.  1 ).  skeleton  of  Camel.  9.  Roe.  10.  Musk  Deer. 

10. 

Perpendicular  rows— 1.  Skull  of  Camel.  4.  Skull  of  Giraffe.  6.  Skull 
ofDugong.  3.  Giraffe.  5  Manatus.  |  2.  Llama.  8.  Skull  of  Dolphin. 
7.  Dolphin.  12.  Skull  of  Whale.  |  0.  Narwhal.  15.  Aiit  Eater.  11. 
Whale.  13.  Fin  Back  Whale.  |  16.  Skull  of  Ant  Eater.  18.  Skull  of 
Armadillo.  10.  Skull  of  Spermaceti  Whale.  17.  Armadillo.  14.  Pan- 
golin. 19.  Skull  of  Sloth. 

11. 

1.  Two-toed  Sloth.  2.  Skull  of  Ground  Hog.  18.  Milk  Glands  and 
Young  of  Kchidna.  8.  Wombat.  |  12.  Flying  Squirrel.  13  Shaggy 
Didelph.s.  5.  .skull  of  Kangaroo,  f  3.  Kangaroo.  10  Skull  of  Opos- 
sum. 15.  Ornithorynchus  Paradoxus  K  7.  Female  Organs  of  Opos- 
Kuni.  6.  Opossum  with  Young.  16.  Skull  of  Ornithorynchus,  under 
part.  4.  (Skeleton  of  Kangaroo.  II.  Beutel,  or  Pouch  Wolf.  9.  Opos- 
bum.  17.  Echidna.  11.  Wolverine. 

12. 

1.  Skull  of  Parrot.  2.  Head  of  Green  Parrot.  3.  Yellow  Cockatoo  4. 
Ara  Parrot.  5.  Wave  Parrot.  6  Owl  Parrot.  7.  Pepper  Eater.  8.  GaU 
nula.  1 10.  Cuckoo.  14.  Bee  Eater.  20.  Head  of  Black  Woodpecker. 
18.  Foot  of  Wryneck.  15.  Hoopoe.  9.  Trogon.  |  12.  Kingfisher.  1«. 
Almond  Rook.  11.  He*d  of  Cuckoo.  19.  Variegated  Woodpecker. 
17.  Wryneck.  13.  Foot  of  Kingfisher.  24.  Topaz  Humming  Bird.  I'l. 
Goatsucker.  22.  Head  of  same.  23.  Martin. 

13. 

1.  Skeleton  of  Humming  Bird.  2.  Mountain  Cock.  3.  Tyrant.  8. 
Sparrow.  7.  Siskin.  11.  Cross-bill.  J  4.  Synallaxis.  15.  Foot  of  Lark. 

5.  Lyre  Bird.    6.  Bird  of  Paradise.    20.  House  Swallow.    22.  Head  of 
Gnat  Snapper.     10.  Hawfinch.    18.  Fieldfare.     g  17.  Nightingale.    16. 


77 

Golden -created  Wren.  14  Sky  Lark.  23.  Head  of  Wren.  13.  Crested 
Lark.  19.  Blackbirds.  12.  Hedge  Sparrow.  9.  Bullfinch.  21.  Wax- 
wing. 

14. 

2.  Golden  Oriole.  3.  Butcher  Bird.  5.  Head  of  Blue  Woodpecker. 
20.  Osprey.  19.  Golden  Eagle.  21.  Snake  Eagle.  ||  6.  Coal  Titmouse. 
0.  Stariing.  1.  Wren.  11,  Magpie.  4.  Martlet.  18.  Vulture.  10.  Bird 
of  Paradise.  17.  Gray  Vulture.  ||  8.  Boat-tail.  15.  Forest  Screech  Owl. 

12.  Mountain  Jackdaw.    13.  Stone  Crow.   14.  Horned  Owl.   16.  Condor. 

15. 

1, 2.  Bearded  Hawk  and  Skeleton.  10.  Desert  Fowl.  12.  Woodcock. 
||  4.  Falcon.  9.  Entrails  of  Domestic  Hens.  &.  Secretary  Bird.  13. 
Grouse.  14.  Red  Grouse.  ||  7.  Ring  Dove.  18.  Jacana.  6.  Didunculus. 
3.  Hawk.  8.  Head  of  Stock  Dove.  16.  Turkey  Cock.  17.  Golden  Phea- 
sant. 11.  Quail.  15.  Partridge. 

16. 

1.  Guinea  Fowl.  2.  Heath  Cock.  3.  Crested  Curassow.  11.  Kiroi. 
16.  Chionls.  J|  4.  Skeleton  of  Cassowary.  8,  9.  Head  and  Foot  of  Os- 
trich. 5,  6.  Head  and  Foot  of  Cassowary.  14.  Oyster-fisher.  15.  Plo- 
ver's Head.  12.  Woodcock.  J  10.  Nandu.  18.  Seriema.  7.  Ostrich. 

13.  Head  of  Snipe.    17.  Dwarf  Bustard. 

17. 

1.  Agami.  4.  Sun  Heron.  3.  Rail.  16.  Wild  Duck.  2.  Aurenna.  ||  8. 
Shadow  Bird.  5.  Head  of  Crane.  12,  13,  14.  Skeleton,  Head  and  Foot 
of  Flamingo.  7.  Head  of  Common  Heron.  21.  Foot  of  the  Dwarf  Saw- 
yer. 10.  Head  of  Avooet.  '22.  Head  of  Pelican.  20.  Head  of  Sawyer. 
19.  Saw  bill  Duck.  II  9.  Stoik.  11.  Ibis.  6.  Bittern.  15.  Swan.  17. 
Eider  Duck.  18.  Water  Hen. 

18. 

1.  Pelican's  Foot.  18.  Robber- Sea-Swallow.  5.  Snake  Neck.  8.  Her- 
ring Gull.  14.  Mask  Duck.  IS.  Crab  Diver.  ||  4.  Cormorant.  3.  Fri- 
gate. 15.  Guillemot.  11.  Puffin.  12.  Great  Auk.  7.  Albatross.  ||  2. 
Dodo.  17.  Skua  Gull.  9.  Skeleton  of  Penguin.  16.  Great  Penguin.  10. 
Crested  Grebe.  19.  Tropic  Bird.  6.  Stormy  Petrel. 


19. 

1.  Skeleton  of  Tortoise.  7.  Cauana,  or  Hawk's-bill  Turtle.  15.  Va- 
ran of  the  Nile.  4.  Snapping  Turtle.  ||  3.  Turtle.  8.  Leathery  Turtle. 
10.  Head  of  Cayman.  6.  Trlonyx,  or  Fierce  Snapping  Turtle.  2.  Land 
Turtle.  6.  Matamata.  12.  Crocodile  Skull,  profile.  13.  Top  of  same. 
16.  Hedge  Lizard  ||  9.  Crocodile  Skeleton.  14.  Top  of  Skull  of  Ga- 
vial.  11.  Crocodile  of  the  Nile. 

20. 

1.  Variegated  Lizard.  6.  Skink.  18.  Cobra.  19.  Flathead  Snake. 
I!  3.  Frilled  Gecko.  4.  Hooded  Basilisk.  7.  Double  Creeper  Worm.  8. 
King  Adder.  13.  Viper's  Head.  10.  Skull  of  Ring  Adder.  15.  Skull 
of  Kattlesnake.  9.  Skeleton  of  Ring  Adder.  21.  Tortrix.  ||  5.  Chame- 
leon. 20.  Boa  Constrictor.  II.  Adder.  16.  Poison  Apparatus  of  Rattle- 
snake. 12.  Rattlesnake's  Head.  2.  Teguexin. 


78 
21. 

1.  Ringed  Grub.  15.  Masked  Axolotl.  16.  Axolotl.  14.  Great  Sala- 
mander. ||  2.  Tree  Frog.  8.  Green  Frog.  13.  Crested  Newt.  10.  Ground 
halamander.  17.  Congo  Snake.  ||  18.  Proteus.  9.  Pi  pa.  4.  Skeleton 
of  Frog.  7.  Toad.  8.  Horned  Toad.  12.  Bibbed  Salamander.  ||  5.  Toad 
with  Spawn.  6.  Unke.  11.  Hooded  Salamander.  19.  Arm  Salaman- 
der, or  {Siren. 

22. 

5.  Fore  Part  of  Skeleton  of  Porpoise.  1.  Protopterus.  11.  Sturgeon. 
13.  Bel  lows  Fish.  2.  Skeleton  or  Starry  Ray.  10.  Pike.  17.  Eel  Mother. 
1«.  Sea  Butterfly,  or  Blenny.  6.  Common  Shark.  4.  Saw  Fish.  ||  9. 
Bony  Pike.  15.  Sea  Bat.  8.  Spoke.  ||  14.  Sea  Surgeon.  12.  Skeleton 
of  Sturgeon.  3.  Torpedo  Fish.  7.  Hammer  Shark.  18.  Spouting  Fish, 
or  Beaked  Chsetodon. 

23. 

1.  Tunny.   2.  Mackerel.  7.  Climbing  Fish,    fi  6.  Harder.    12, 13.  Bass. 

S3.  Fan  Fish.    4.  Skeleton  of  Silver  Plate.    10.  Stickleback.    5.  Corb. 
.  Dorado.    ||  14.  Horn  Pike.   17.  Turbot.    18.  Sole.    ||  15.  Swallow  Fish. 

19.  Mureena.    11.  Sand  Eel.    9.  Open  Mouth  of  Dorado.    16.  Skeleton 
of  Zunge. 

24. 

1.  Juli*.  24.  Myxon.  15.  Bastard  Carp.  25.  Lancelot.  19.  Silurus. 
1  7.  Skull  of  Cod.  14.  Carp.  6.  Cod.  17.  Gudgeon.  20.  Moon  Fish. 
||  11.  Brook  Trout.  12.  Salmon.  9.  Pike.  18.  Loach.  |  8.  Eel  Pout. 
3.  Sardel.  13.  Marane.  4.  Anchovy.  22.  Sea  Horse.  ||  16.  Trench.  5. 
Herring.  10.  Salmon.  23.  River  Lamprey.  2.  Eel.  21.  Horned  Trunk 
Fish. 

25. 

1-8.  Termites.  41.  Club  Beetle.  36.  Scaritida,  or  Sand  Beetle.  38. 
Whirlwig  Beetle.  46.  Gloss  Beetle.  45.  Scaphidium.  61.  Striped  Bee- 
tle. 47.  Colydium.  42.  Stumpy  Beetle.  57.  Spring  Beetle.  15.  Migra- 
tory Locust.  14.  Leaping  Locust.  18  Shore  Fly.  24.  Feather  Louse. 

20.  Dragon  Fly.    22.  Sugar  Moth.    59.  Cebrion.    21.  Thrips.    27.  Camel- 
neck  Fly.    23.  Glacier  Flea.    ||  &5.  Larva  of  Rose  Bug.    |  10.  Mantis, 
or  Praying  Insect.    62.  Borer.    55.  Scarabseus,  or  Dung  Beetle.     11. 
Walking  Leaf  Insect.    17.  Wood  Louse.    Itf.  May  Fly,  or  Ephemera. 
28.  Scorpion  Fly.    25.  Ant  Lion  Larva,  in  pit.    53.  Larva  of  Cockchafer 
Grub.    16.  Earwig.    60.  Glow  Worm;  a.  male, 6.  female.    54.  Chrysalis 
of  Cockchafer.    ||  30.  Xenos.    29.  Vernal  Fly.    31.  32.  Coieoptera.    34. 
The  Golden  Running  Beetle.    56.  Splendid  Hug.    33.  Leather  Running 
Beetle.    39.  Fish  Beetle.    52.  May  Bug.    12.  Cricket.    43.  Larva  of  Car- 
rion Beetle.    9.  Cockroach.    ||  3?.  Swimming  Beetle.    40.  Brachelytra, 
or  Rove  Beetle.    63.  Chrysalis  of  the  Gnawing  Borer.    13.  Mole  Cricket. 
68.  Cebrion.   48.  Cuculus.   49.  Bacon  Beetle.  60.  Pill  Beetle.  51.  Ground 
Beetle.    44.  Burying  Beetle.    26.  Ant  Lion,  In  perlect  form. 

26. 

4.  Tenebrlo  Molitor,  or  Meal  Bug.  5.  Larva  of  same.  3.  Larva  of 
Augur  Beetle.  1.  Cockchafer.  2.  Augur  Beetle.  11.  Spanish  Fly.  21. 
Sponge  Beetle.  22.  Lady  Bug.  29.  Sand  Wasp.  33.  Brown  Forest 
Wasp.  38.  Rose  Gall  Wasp.  39.  Plum  Saw  Wasp.  44.  Caterpillar 
of  Pear  Wasp.  ||  8.  Melandria.  9.  Stinging  Beetle.  17.  Barkchafer. 
6.  Wool  Beetle.  7.  Cardinal,  or  Scarlet  Beetle.  10.  Male  Oil  Beetle. 
12.  Desert  Bug.  18.  Plum,  or  Stumpy  Beetle.  14.  Corn  Weevil.  20. 


79 

Leaf  Beetle.  27.  Working  Bee.  25.  Honey  Bee.  23.  Head  of  Bee. 
26.  Drone.  28.  Wasp.  52.  Blockhead.  24.  Hind  Foot  of  Working  Bee. 
80.  Road  Wasp.  31.  Spinning  Aut.  32.  a.  The  Yellow  Working  Ant; 
6.  Yellow  Male  Ant.  35.  Small  Belly  Wasp.  34.  Female  of  Brown 
Forest  Wasp.  36.  Little  Thrust  Wasp.  41.  Haw  Wasp.  42.  Caterpillar 
of  same.  43.  Pear  Wasp.  40.  Plum  Wasp  Caterpillar.  45.  Corn  Wasp. 
(I  19.  Alpine  Goat  Beetle.  5i».  Female  Silk  Spinner.  *3.  Glass  Moth. 

64.  Grape-vine  Moth.    49,  50,  51.  Admiral  Butterfly,  Caterpillar  and 
Chrysalis.     ||    40,  47,  48.    Swallow-tailed   Butterfly.    Caterpillar    and 
Chrysniis.    15.  Vine  Weevil.    60.  Caterpillar  of  the  Silk  Spinner  Moth. 
63.   Cabbage   Caterpillar.      37.    Glossy    Wing    Diptera.     62.    Ypsilon 
55.    Goat   Moth.    65.    Caterpillar   of  Grape-vine   Moth,  Dwarf  Plum 
Beetle.    58.    Male  Silk  Spinner.    61.    Chrysalis  of  same.     57.    White 
Spotted  Moth.    54.  Fir  Dart.    13.  Pea  Weevil.    50.  Swarming  Hornet. 

27. 

1.  Bear  Moth.  2,  3,  4.  Measuring  Worm,  Grnb  and  Moth.  6,  5.  Apple 
Roller.  7,  8.  Wax  Moth.  10.  Feather  Gho  t.  11.  Pricking  Gnat. 
51.  Book  Scorpion.  20.  Armed  Fly.  21.  Hoverer  Fly.  15.  Snipe 
Fly.  17.  Common  Hover  Fly.  28.  TieeBug.  18.  Ant  Fly.  14.  Hawk 
Fly.  16.  Thick  Fiy.  2(5.  Flea.  19.  Feather  Fly.  22.  Murder  Fly. 
25.  Louse  My.  23.  Cattle  Louse.  24.  Blue  Bottle  FJy.  fl  9.  Moth. 
44.  Felt  Louse.  36.  Singing  Grasshopper.  37.  Larva  of  same.  34.  Wa- 
ter Scorpion.  33.  Shore  Scorpion.  38.  Mining  G-asshopper.  32.  Water 
Runner.  30.  Bed  Bug.  '29.  Blind  Bug.  49.  Louse  Shell.  12.  Cattle  or 
Gad  Fly.  42.  a,  b.  Cochinillifer  and  Pupa.  31.  Dung  Bug.  27.  Beetle 
Bug.  43.  Head  Louse.  40.  Ear  Cricket.  39.  Froth  Grasshopper.  35. 
Backward  Swimming  Grasshopper.  ||  58,  57.  Hopping  Spider.  59. 
Cochi  lie  lie  Mite.  41.  Leaf  Flea.  53.  Weaver  Spider.  56.  Cross  Spider. 

65.  Mining  Spider.    54.  Galeodes  or  Scorpion  Spider.    52.  Tarantula. 
13.  Maggot  of  Gad  Fly.    60.  Muscle  Mite.    50.  Scorpion.    4*.  Shield- 
Footed   Myriapoda.    46.   Scolopendra   Formosa.     4s.   Millipede.    47. 
Centipede. 

28. 

1.  Grass  Mite.  2.  Hedge  Hog  Tick.  24.  Ball  Wood  Louse.  7.  Wood 
Louse  Spider.  3.  Cheese  Mite.  9.  Frog  Crab.  8.  Land  Crab.  12.  Purse 
Crab.  13.  White  Symnista.  21.  Ghost  Crab.  14.  Galathea  or  Common 
Plated  Lobster.  16.  River  Lobster.  |  6.  Tongue  Worm.  18.  Mantis 
Shrimp.  20.  Sand  Skipper.  4.  Itch  Mite.  19.  Fresh  Water  Shrimp. 
1".  Spider  Crab.  22.  Arcturus  or  Sea  Wood  Louse.  15.  Spiny  Lobster. 
H  28.  Trilobite.  31.  Cypris  Clavaea,  or  Muscle  Crab.  32.  Cyclops,  or 
Crab  Flea.  27.  Long-Tailed  Molucca  Crab.  5.  Bear  Mite.  80.  Water 
Flea.  23.  Armadillo  Wood  Louse.  29.  Shield  Shrimp.  26.  lone.  25. 
Fish  Louse.  17.  Ring-horned  Prawn,  or  Shrimp.  11.  Woolly  Crab, 

29. 

1.  Argulus  or  Carp  Louce.  4.  Barnacles.  3.  Louse  Worm.  11.  Poly- 
artht-H.  9.  Notomata.  6.  Crown  Parasite.  13.  Nereis.  14.  Hetro 
NereK  15.  Pnyliodoce  Nereis.  10.  Brachionu-.  8.  Notommata.  30. 
Clepsine.  29.  Albione.  5.  Sea  Pock.  42.  Double  Worm.  25.  Peripatus. 
20.  Chhtraema.  28.  Horse  Leech.  18.  Phyllochsetopterus.  22.  Her- 
mella.  ||  2.  Perch  Sucker.  7.  Snout  Wheel.  17.  Hetrocirrhus.  l!». 
Lug  Worm.  31.  Sagitta,  or  Arrow.  37.  Hair  Worm.  36.  Sharp  Tail.  | 
23.  Serpula.  32.  Sipunculus.  21.  Terebella,  or  Shell  Binder.  34. 
Trichina.  41.  Polycelis.  24.  Tomopteris.  38.  Itch  Worm.  33.  Trichina 
Capsule.  40.  Monoceds.  27.  Snout  Nereis.  26«  Earth  Worm.  12. 
Porcupine  Sea  Moube.  39.  Meckelia.  35.  Horse  Maw  Worm. 


80 
3D. 

I.  Three  Hole  Mollusk.    2.  Liver  Leech.   3.  Larva  of  same.  4.  Larva 

of  Double  Hole.  5.  Tapeworm.  21.  Tapeworm.  38.  Navel  Snail.  7. 
Embryo  Tapeworms.  12.  Scraggy  Pimpled  Worm,  8,  9.  Scolex  in  the 
Hoi  low  of  the  Lungs  of  Way  Snail.  10.  Saw  Tapeworm.  22.  Develop- 
ment of  Tapeworm  in  a  Dog's  Intestines.  13.  Head.  14.  Joint  of 
Pumpkin  Tapeworm.  15.  Head.  16.  Joint  of  Black  Tapeworm.  19, 
20.  Scolex  dn  Quese  Colony.  29.  Ancyloceras.  26.  Argonaut,  or  Ship 
Boat  Nautilus.  27.  Ammonites.  ||  24.  Cuttle  Fish.  28.  Ceratit  Am- 
monite. 30.  Turritela.  18.  Joint  of  Swiss  Tapeworm.  17.  Head  of 
same.  33.  Edible  Snail.  25.  Pearly  Nautilus.  1  2J.  Musk  Pulpe.  31. 
Oxygyrus,  or  Heteropod.  34.  Field  Suail.  32.  Firoln.  39.  Dish  Snail. 
35.  Spike  Shell  Snail.  40.  Sea  Hare.  37.  Coue  Snail.  36.  Cerithium. 

31. 

1.  Thread  Snail.  2.  Elysia.  7.  Splrlfer.  15.  Cockle  Shell.  21.  Spon- 
dylus.  ||  3.  Hyalea.  4.  Clio.  5.  Terebratula.  ||  6.  Barnacle.  10.  Ship- 
worm.  14.  Venus  Muscle.  11.  Mud  Muscle.  31.  Pedicellina.  22.  Oys- 
ter. 13.  Date  Stone  Muscle.  25,  24.  Salpa.  27.  Transparent  Sea 
Sheath.  28.  Nipple  Sea  Sheath.  (  16.  Artist  Muscle.  17.  Ham  Muscle. 
29.  Golden  Botryllus.  3S.  Cassisdnlus.  23.  Exogyra.  12.  Stone  Borer. 
9.  Terebratula.  39.  Shield  Sea  Urchin.  32.  Buuula  Avicularia.  |  18. 
Pearl  Oyster.  19.  Inside  of  same.  20.  Variegated  Scallop.  83.  Horn- 
wrack  Coral.  26.  Fire  Roller.  30.  Lophopus  Crystallinus  (on  rootlets 
of  DuckwePd).  37.  Heart  Urchin.  8.  Pentamerus.  34.  Synapta.  36. 
Sea  Cucumber. 

32. 

1.  Galerites.  2.  Piper  Urchin.  6.  Principal  Medusa.  10.  Nut  Ur- 
chin. ||  3.  Sea  Urchin.  4.  Sun  Star.  5.  Serpent  Star.  9.  Encrinite. 
8.  Pentacrinus.  |  7.  Hair  Star.  19.  Rotifer.  14.  Penalula.  15.  Phyl- 
lactis,  or  Sea  Anemone.  12.  Precious  Coral.  23.  Cydippe  Pileus.  R  21. 
Venomous  Cyantea.  22.  Rhizostoma  Cuvierl.  11.  Winding  Coral. 
18.  Madrepora.  16.  Sea  Anemone.  17.  Edwardsia.  13.  Polyps. 

33. 

1.  Rosary,  or  Praya.  3, 4, 5.  Fail  Torment.  22.  Miliola.  8.  Cydippe 
Willsia.  J2.  Sarsia.  15.  Plagiophrys.  ||  2.  Physalls,  or  Portuguese 
Man  of  War.  19.  Opelina.  17.  Trumpeter.  25.  Sun  Animalcule.  26. 
Curpocanium.  27.  Collozoum.  10.  Georyonia.  9.  Aurelia.  21.  Light 
Animalcule.  14.  Prorodon.  11.  Tiaropsis.  34.  Trichia.  24.  Textu- 
laria.  20.  Tripos  Perinidium.  16.  Aspidiscus.  ||  29.  Haliornma.  32. 
Flint  Sponge.  13.  Stvlonichia.  7.  Hydra.  30.  Amoeba.  31.  Bathy- 
bius.  28.  Eucyrtidium.  33.  Protomyxa. 


APPENDIX 

TO  THE 

SCIOPTICON  CATALOGUE 


OF 


Sold  by  L.  J.  MARCY, 
134O  Chestnut  Street,  Philadelphia. 


REDUCTION  IN  PRICES. 

It  will  be  seen  by  the  following,  that  we  have  not  only 
brought  prices  down  to  meet  the  times,  but  to  anticipate 
any  probable  future  reduction  that  first-class  lantern  slides 
and  apparatus  can  possibly  reach.  At  all  events  we  shall 
in  the  future,  as  in  the  past,  accept  the  lowest  figures, 
and  what  is  much  more  difficult,  shall  endeavor  to  maintain 
our  high  standard  of  excellence,  and  furnish  all  that  is  most 
improved  and  worthy  of  being  approved. 

We  have,  moreover,  the  pleasure  of  announcing,  in  this 
Appendix,  improvements  in  apparatus  and  slides,  more  fully 
than  could  be  introduced  into  the  body  of  the  Catalogue 
without  confusing  its  paging  and  numbering. 

Framed  Colored  Views. 

New  Departure  Slides  (82  inches  in  the  clear,  see  Manual, 
page  146)  are  now  reduced  from  $2.50  to  $1.75  each,  and 
the  ordinary  3-inch  Slides  to  $1.50  each. 


All  our  new  stock  of  Framed  Slides,  whether  catalogued 
or  not,  are  now  made  3*  inches  in  the  clear.  Our  customers 
would  not  now  be  satisfied  with  3-inch  Slides. 

Of  the  many  New  Departure  Slides  worthy  of  being  ap- 
pended to  the  choice  selections  in  Class  I,  we  may  here  name 
twenty ;  which  with  us  is  a  sort  of  fixed  quantity  for  short 
lists. 

PER  SLIDE,  $1.75. 


1  The  Highlander's  Departure. 

2  The  Highlander's  Return. 

3  Winter  in  the  Alps. 

4  Summer  in  the  Alps. 

5  The  Magic  Grotto. 

6  The  Dance  of  the  Fairies. 

7  Enoch  Arden— The  Lonely  Isle. 

8  Enoch  Arden— The  Hour  of  Trial. 

9  Great  Expectations. 

10  Steady  Johnny. 

11  Fortunate  Escape  of  William, 


12  Anne  Rolevn— The  Surprise. 

13  The  Black  Brunswicker. 

14  The  Kvening  Prayer. 

15  Crossing  the  Stream. 

16  At  the  Sea  Side. 

17  Washington  and  La  Fayette  at 

Mt.  Vernon. 

18  Washing!  on  Receiving  Salute  at 

Trenton. 

19  Sunday  in  the  Backwoods 

20  Gray's  Elegy,  etc. 


Prince  of  Orange. 

Except,  perhaps,  the  choice  selections  m  Class  I,  the 
Scripture  Views  in  Class  II  average  the  finest,  because  the 
best  talent  has  been  concentrated  upon  these  subjects  for 
ages.  Whenever  a  better  design  can  be  found,  it  is  imme- 
diately substituted,  but  it  calls  for  no  change  in  the  title. 
The  list  is  purposely  limited  to  those  which  are  more  desir- 
able, in  order  to  influence  purchasers  toward  what  will 
give  them  the  best  satisfaction. 

Framed  Statuary 9  etc. 

Reduced  from  $1.50  to  1.00  each. 

Our  SI. 00  views,  framed  with  31-inch  opening,  include — 

and  such  as  Mercury,  Venus, 
Angel  of  Peace,  Night,  Morn 
ing,  etc.:  each  in  beauti'ul 
clouds,  which  can  be  very 
effectively  used  in  one  lan- 
tern, and  variegated  by  cut- 
off, tinters,  etc. 


1  Blacked-out  Statuary.    See  Class 

XIV. 

2  Scientific   Colored    Slides.      See 

Class  XX  to  XXXIII. 

3  Novelties:  such   as    Lightning, 

Frost-work,  some  dozen  Cloud 
Effects,   Water   Effects,   etc., 


The  above  are  furnished  in  crystal  form,  at  from  50  cents 
to  75  cents  each. 


Movables. 

Our  Chromatropes  are  now  made  with  the  painted  sur- 
faces so  close  together  that  all  are  alike  in  focus  on  the 
screen.  They  are  constructed  so  as  not  to  bind  by  the 
shrinkage  of  wood,  and  a  fine  appearance  is  given  to  them 
by  protecting  brass  plates.  They  are  also  made  with  large 
opening,  in  New  Departure  Style.  Those  with  three  glasses, 
as  Good  Night,  Washington,  Bee  Hive,  Aquarium,  Foun- 
tain, etc.,  are  reduced  from  $5.50  to  $5,00 ;  and  those  with 
two  glasses  are  reduced  to  $4.00. 

Slip  Slides  are  75  cents  each. 


Dissolving  Effects. 

Each  set  enumerated  in  Class  XI  and  in  Class  XXXIX, 
is  now  sold  for  the  sum  of  the  reduced  prices  of  the  slides 
included,  as,  for  example,  in  the  following  new  sets : — 


1  The  Dream  of  Immortality.  Two  4 

Slides,  $3.50.  A  beautiful  lady, 
reclining  upon  a  couch,  has 
fallen  asleep;  near  her  sits  a 
friend,  who  has  been  reading 
to  her  from  the  Bible.  A 
vision  of  angels  appears;  one 
places  a  crown  of  glory  upon 
her  brow. 

2  The    Bachelor's    Reverie.     Two 

Slides,  $3.50.  A  bachelor  is  5. 
see  a  seated  by  his  fireside, 
asleep  in  his  chair,  his  dog 
and  cat  upon  the  rug.  A 
vision  of  his  early  love— a 
rosy-cheeked,  barefooted 
country  girl— appears. 

3  GoodMorning.    Two  Slides,  $3.50. 

The    portico   of  a   mansion, 
with  shutters  of  the  window  6. 
closed ;  the  shutters  fly  open, 
and  the  figure  of  a  lovely  girl 
is  seeu  at  the  window. 


"Look  Not  Upon  the  Wine." 
Two  Slides,  $3.50.  A  beauti- 
ful srirl  with  cup  of  wine  in 
-her  extended  hand.  As  we 
gaz^  upon  her,  she  becomes 
transformed  into  a  ghastly 
skeleton,  and  a  serpent  ap- 
pears in  the  cup,  illustrating 
the  words  of  Solomon.  Prov. 
xxiii.31. 

Fire  in  New  York.  Two  Slides. 
$3.50.  A  building  on  fire  is 
seen  in  the  distance,  and  a 
•  s'eamer,  drawn  by  horses  at 
full  gallop,  passing.  Thesc°ne 
changes  to  full  view  of  the 
burning  building,  with  steam- 
er and  engines  playing  water 
upon  it. 

The  Fairy  Fountain.  Frame 
Slide  and  Rack  Work  Chro- 
matrope,  $6.75.  A  beautiful 
colored  vase,  with  pl>«y  of  wa- 
ter, produced  by  rack  work. 


Novel  Dissolving  Effects. 

Dissolving  apparatus,  from  its  earliest  history,  has  been 
observed  to  produce  exceptionally  curious  effects  when  cer- 
tain figures  dissolve  into  or  emerge  from  strikingly  sug- 
gestive surroundings. 

This  phenomenon  is  now  quite  the  rage  among  exhibitors. 
It  is  rare  to  find  any  who  do  not  claim  the  originality  of 
the  idea,  but  Mr.  John  Q.  Maynard  seems  the  first  to  make 
it  a  prominent  feature  in  his  entertainments. 

The  "Flight  of  Mercury"  is  reported  among  the  more 
striking  performances,  and  its  description  here  will  show 
the  general  plan  of  doing  such  things,  and  the  peculiar  ad- 
vantages of  the  Sciopticon  stage,  tinters,  cut-off",  etc.,  and  the 
facility  with  which  various  blacked-out  statuary  may  be 
smoothly  passed  over  the  disk  by  means  of  swinging  the 
one  or  the  other  instrument  about  its  front  pivot. 

These  effects  may  be  greatly  varied,  multiplied,  and  im- 
proved upon,  by  any  one  having  a  large  collection  of  views, 
by  the  skillful  use  of  tinters,  clouds,  ice  views,  etc.  Indeed, 
originality  stimulates  skill  in  manipulation. 

THE  SLIDES  AND  MANIPULATIONS  producing  the  Mer- 
cury effects  are  as  follows : — 

Slide  !•  A  cloud  view,  from  which,  by  turning  the 
dissolving  cock  (or  dissolver,  if  oil  Sciopticons  are  used), 
comes  forth — 

Slide  2.  Mercury,  the  smallest  figure,  made  to  float 
from  right  to  left,  by  smoothly  sliding  the  rear  of  the  Sciop- 
ticon. Gradually  bring  this  out  brighter  and  brighter,  and 
then,  the  clouds  disappearing,  let  Slide  1  be  removed  and 
the  blue  tinter  drawn  up,  and  turn  the  dissolving-cock 
handle  only  to  the  middle  (or,  if  oil  Sciopticons  are  used, 
slip  the  handle  over  the  button,  so  the  dissolver  will  hang 
down) ;  thus  you  will  secure  the  figure  of  Mercury  with  the 


blue  ground ;  then  gradually  turn  off  the  light  from  Mer- 
cury till  the  blue  tint  alone  appears,  and  from  it  bring  out 

Slide  3.  Ice  View.  Now  gradually  vanish  the  blue 
light,  and  from  the  Ice  View  comes — 

Slide  4»  Mercury,  medium  size.  The  ice  is  made  to 
disappear,  and  the  figure  of  Mercury  to  grow  more  and 
more  bright,  and  to  be  followed  by— 

Slide  5.  Clouds,  heavier  than  the  former.  Then 
follow  with — 

Slide  6.  Our  new  Lightning  Effect.  Cover  the  ob- 
jective by  passing  the  hand  forward  to  the  front  of  it,  and 
turn  the  dissolving-cock  handle  to  the  middle;  with  a  quick 
movement,  uncover  the  objective  two  or  three  times,  by 
passing  the  hand  back  and  forth  in  front  of  it ;  then  mov- 
ing the  lightning  slide  an  inch  or  so,  repeat  the  operation, 
and  so  continue  till  all  parts  of  the  sky  receive  a  due  pro- 
portion of  electric  display.  Removing  the  lightning  slide, 
dissolve  into  the  red  tinter  slowly,  by  withdrawing  the  hand 
from  before  the  objective  with  the  fingers  a  little  open,  so  as 
to  get  a  pretty  effect  of  color  upon  the  clouda,  till  they,  in 
turn,  gradually  disappear,  followed  by — 

Slide  7»  Mercury,  largest  size,  which  manage  as  be- 
fore, so  as  to  have  a  bright  view  of  the  figure  with  the  rosy 
background.  Now  vanish  the  tint  and  follow  with — 

Slide  8.  A  Colored  Moonlight  View,  in  which  the 
statue  will  appear  to  rest. 

This  set  of  eight  slides  (equivalent  to  ten  in  lanterns 
without  tinter  attachments),  all  in  crystal  form,  for  the 
sake  of  uniformity,  is  priced  at  $6.00. 

Among  other  sets  are  the  Magic  Lily  and  Dance  of  the 
Fairies,  Venus  Emerging  from  tlje  Sea,  the  Flight  of  Time, 
the  Journey  of  Aurora,  etc.  The  order  of  their  showing  is 
indicated  by  the  numbers  attached  to  each  slide.  The  tinters 
and  the  same  ice  and  clouds  may  be  used  with  either  set. 


Unframed  Slides. 

The  Unframed  Slides  used  in  this  country  are  mostly  3i 
inches  high  and  4  or  41-  inches  from  side  to  side.  The  pic- 
ture openings,  however,  differ  both  as  to  size  and  shape. 
The  common  round  opening  is  necessarily  somewhat  less 
than  21  inches  in  diameter,  showing  considerably  less  area 
than  the  opening  in  our  crystal  slides  here  represented, 


whose  diameter  is  3?  inches  where  most  needed.  The  cres- 
cent of  sky  and  foreground  thus  cut  from  the  enlarged  picture 
is  scarcely  a  disadvantage  to  most  subjects,  while  there  is  an 
advantage  in  showing  the  full  height  of  what  is  near  the 
side  margins.  We  endeavor,  therefore,  to  have  all  our 
Unframed  Slides  correspond,  in  shaoe,  size,  and  opening,  to 
he  foregoing  cut. 


Scientific  Sciopticon  Slides. 

PER  SLIDE,  30  CEXTS;   PER  HUNDRED. 

We  are  in  constant  search  for  the  most  desirable  scien- 
tific illustrations  for  use  in  Lantern  Slides.  We  have 
availed  ourselves  of  the  best  designs  brought  to  light  by  the 
Centennial  Exhibition,  as  well  as  of  every  other  available 
source.  We  offer  these  superior  slides  at  30  cents  each,  for 
the  special  benefit  of  educational  institutions.  Many  of 
them,  however,  are  suitable  for  general  use,  and  have  found 
their  way  into  families  and  Sunday  schools. 

The  names  in  full  of  two  series  added  to  this  reprint  of  the 
Catalogue,  inay  make  amends,  in  part,  for  our  being  for- 
bidden, by  the  Post  Office  Department,  to  send  specimen 
glass  slides  by  mail. 

Class  XLV,  Zoology,  is  as  complete  an  exhibit  of  animal 
life  as  is  possible  to  present  in  so  small  a  compass. 

Those  who  prefer  one  object  only  on  a  slide,  may  have 
them  so,  to  some  extent;  but  it  should  be  remembered  that 
858  subjects,  at  the  prevailing  price,  would  thus  cost  over 
$600,  instead  of  less  than  $10. 

The  History  of  Culture,  also,  catalogued  in  full,  can 
hardly  fail  to  interest  people  of  culture,  in  the  family  as- 
well  as  in  educational  institutions.  To  make  the  series  still 
more  popular,  we  can  substitute,  for  a  dozen  slides  or  so, 
lacking  in  popular  interest,  such  as  Cornelia  and  Her 
Jewels,  the  Death  of  Csesar,  Old  Stone  Mill  at  Newport, 
Views  in  Buried  Cities,  etc. 

A  similar  list  of  the  41  Ethnological  Slides  will  be  for- 
warded on  application,  and  with  the  slides.  It  seems  inex- 
pedient to  enlarge  the  Catalogue,  at  present,  with  further 
minute  enumerations. 


8 
Colored  Crystal  Slides. 

Colors  abound  in  nature  and  in  art,  and,  therefore, 
projected  pictures  of  colored  objects  require  proper 
coloring  to  appear  in  the  highest  degree  natural  and 
beautiful. 

We  are  endeavoring  to  make  our  Colored  Slides  both 
good  and  cheap,  so  as  to  meet  the  requirements  of  good 
taste,  and  of  a  light  purse  as  well. 

Among  these  are  included : — 

1.  A  selection  of  new  art  pictures,  similar  to  those  cata- 
logued in  Class  I,  but  not  sealed  or  framed. 

PER  SLIDE,  COLORED,  73  CEBITS;  VNCOLORED  5O  CENTS. 


1  Spirit  of  76. 

2  The  American  Eagle. 

3  Heroine  of  the  Lighthouse. 

4  Steamboat  Race  on  the  Missis- 

sippi. 

5  Muternal  Projects. 
»»  The  Croquet,  Party. 

7  The  Bird's  Nest. 

8  Tom'K  Musi"  Lesson. 
»  The  Three  Horses. 

10  The  Three  Foxes. 


11  Auld  Lang  Syne. 

U  The  Old  Oaken  Bucket. 

13  The  Arkansas  Traveler. 

14  The  N.  E.  Kitchen. 

15  To  the  Rescue. 

16  He  is  Saved. 

17  Meeting  of  the  Waters-Lakes  of 

Killarney. 

18  Bally  Hinch  Lake. 

19  Blarney  Castle. 

20  Giengariff  Inn,  etc. 


2.  A  selection  of  Scripture  subjects  similar  to  those  cata- 
logued in  Class  II,  but  not  sealed  or  framed. 


PER  SLIDE,  COLORED,  75  CENTS :  UNCOLORED,  r>o  C  ENTS. 
OLD  TEST  A  91 K  NT. 


1  Adam  and  Eve. 

2  Death  of  Abel. 

3  Noah's  Sacrifice. 

4  Abraham's  Sacrifice. 

5  Hagar  in  the  Wilderness. 

6  Rebekah  at  the  Well. 

7  Arrival  of  Rebekah. 

8  Jacob's  Dream. 

9  Joseph's  Bloody  Coat  Shown. 
10  Joseph     Interprets     Pharaoh's 

Dream. 


11  Moses  Saved. 

12  The  Burning  Bush. 

18  Pharaoh  and  his  Host  Drowned. 
H  The  Brazen  Serpent. 

15  Samuel  and  EH. 

16  David  and  Goliath. 

17  Solomon    and    the    Queen    of 

Sheba. 

18  Ascent  of  Elijah. 

19  Daniel  in  the  Lion's  Den. 

20  Espousal  of  Esther. 


NEW  TESTAMENT. 


1  Adoration  of  the  Magi. 

2  Jesus  with  the  Doctors. 

3  Clearing  the  Temple. 

4  Woman  of  Samaria. 

5  Healing  the  Sick. 

6  Blessing  Little  Children. 

7  Stilling  the  Storm. 

8  Christ  the  Consolator. 

9  The  Ninety  and  Nine. 

10  The  Ten  Virgins. 

11  The  Transfiguration. 


12  The  Liliesof  the  Field. 

13  Giving  Sight  to  the  Blind, 

14  The  Prodigal  Son  as  a  Swine- 

herd. 

15  The  Prodigal's  Return. 

16  Christ  in  the  House  of  Mary  and 

Martha. 

17  The  Last  Supper. 

18  The  Crucifixion. 

19  Abide  with  Us. 

20  The  Ascension. 


3.  A  selection  of  European  Views,  from  nature,  similar 
to  those  catalogued  in  Class  XLI,  and  such  as  show  color 
to  advantage. 

PER  SLIDE,  COLORE D, 75  CENTS ;  UNCOLOR E  D,  50  CENTS 


1  Balmoral  C'stle. 

2  Holy  rood  Chapel. 

3  Abbotsford. 

4  Melrose  Abbey. 

5  Buckingham  P-ilace. 

6  The  Horse  Guards. 

7  Windsor  Castle. 

8  St.  Goar  on  the  Rhine. 

9  Bingen  on  the  Rhine. 
10  Castle  Chillon. 


11  Mer  de  Glace. 

12  Paris. 

13  Notre  Darae. 

14  Park  at  Versailles. 

15  Falls  of  the  Terni. 

16  Rome. 

17  Venice. 

18  Naples. 

19  New  Palace  of  the  Sultan. 

20  Palace  of  the  Kremlin. 


4.  A  selection  of  Comic  Scenes. 


PER  SLIDE, COLORED, 75  CENTS;  UNCOLORED,5O  CEXTS. 


1  Music  hath  Charms. 

2  Twas  a  Calm,  Still  Night. 

3  The  Polite  Conductor. 

4  Thou  Hast  Learutd  to  Love  An- 

other. 

5  Onconvanience  cf  Single  Life. 

6  The  Raal  Couvanience 

7  'Twere  Vain  to  Tell  Thee  All  I 

F.-el. 

8  Sweepstakes. 

9  BothPnzz^d. 

10  CrooSPurpo-HS. 

11  The  Course  of  True  Love. 


12  Youns:   Men,  Take    Warning- 

Temperance. 

13  Preparing  for  Congress. 

14  Flaw  in  the  Title. 

15  The  Man  who  Sat  the  Old  Year 

Out. 

16  Love  at  First  Sight. 

17  Man  as  He  Expects  to  Be. 

18  Triumph  of  Woman's  Rights. 

19  The  Youthful  Darwin. 

20  Darwinian  Picture  Gallery  (in 

variety;,  etc. 


10 
500  Scripture  Illustrations, 

On  100  glass  slides,  are  now  sold  for  30  cents  per  slide,  or 
$25  per  hundred.  See  Introduction,  p.  xxvii. 

These  100  slides  may  be  subdivided  into  four  classes,  viz: 
25  Tabernacle,  Customs,  etc.,  with  descriptive  lecture ;  25 
Biblical  Antiquities;  25  Biblical  Natural  History,  and  25 
Holy  Land  Views. 

A  portion  of  these  illustrations  require  a  slide  for  each, 
but  mostly  a  number  of  objects  are  grouped  together,  so 
that  a  subject  ordered  from  Class  V  may  only  be  furnished 
with  several  others  on  the  same  slide.  They  are  intended 
not  so  much  for  popular  entertainment  as  for  illustrating 
Bible  lessons. 

Plain  Glass  Slides, 

Photographed  from  nature,  are  still  priced  as  in  the  Cata- 
logue, 50  cents  each  for  American,  and  60  cents  each  for 
European  views. 

We  have  an  unequaled  assortment  of  good  subjects,  and 
the  best  facilities  for  keeping  such  in  full  supply. 

It  is  our  policy  to  stock  up  with  clear,  good  slides,  of  de- 
sirable subjects,  in  much  larger  proportion  than  with  those 
less  used  and  of  less  merit ;  so,  while  we  are  not  obliged  to 
make  "special  offers  of  our  selections"  to  clear  off  the  dregs 
of  careless  importations,  we  are  able  to  offer  choice  well- 
assorted  lots  (which  we  will  particularize  and  define  accord- 
ing to  circumstances  at  the  time  of  application)  at  very  low 
rates.  This  arrangement  will  often  save  us  the  trouble  of 
hunting  up  and  filling  out  inferior  lists  compiled  from  Ca- 
talogues, and  will  prove  less  expensive  and  more  satisfactory 
to  those  who  use  the  Sciopticon. 

We  are  the  more  anxious  to  secure  direct  trade,  by  low 
prices,  for  good  pictures,  because  much  injustice  has  often 


11 

been  done  the  Sciopticon,  not  only  by  bungling  imitations 
and  second-hand  sales  of  old  forms  of  it,  but  by  saddling  it 
with  poor  slides. 

To  extend  the  use  of  the  Sciopticon,  particularly  as  a 
"home  influence,  worthy  of  all  praise  (See  Introduction, 
page  xix),  we  will  gladly  furnish  good,  clear  slides,  of  our 
selection  from  this  class,  at  extremely  low  prices. 


IMPROVEMENTS  IN  APPARATUS. 

Having  an  inventor's  pride  in  the  Sciopticon,  with  its 
accessories,  I  naturally  strive  to  improve  it  in  every  particu- 
lar possible.  New  features,  however,  are  not  pushed  into 
notice  till  thoroughly  tried  and  found  worthy  of  approval. 
Of  course,  many  promising  theories  fail  of  giving  satisfac- 
tion when  reduced  to  practice.  For  example,  my  early 
three-wick  theory,  coeval  with  my  first  patent,  failed  to 
meet  my  expectations.  Wider  wicks  gave  more  candle 
power  and  more  heat,  but  not  more  illumination  on  the 
screen.  Oxygen,  supplied  between  the  flames,  brightened 
them  beautifully,  but  the  wicks  soon  burned  away,  and  the 
adjacent  parts  became  overheated.  My  efforts  to  advan- 
tageously substitute  Hydrocarbon  vapor  in  Burner  No.  1 
have  not  yet  proved  fully  successful,  though  hope  still 
survives.  But  space  would  not  allow  a  full  enumeration  of 
the  many  experiments  involved  in  reaching  a  few  well- 
assured  improvements. 

The  following  settled  modifications,  not  previously  de- 
scribed, are  here  explained,  not  only  for  the  purpose  of 
calling  attention  to  them,  but  of  showing  the  operator  how 
to  use  them. 


12 
The  New  Cut-off. 

Hitherto  the  advantages  of  the  Automatic  Cut-off  (see 
Manual,  p.  167)  have  been  confined  to  the  Gas  Sciopticon, 
and  to  the  use  of  glass  slides  only.  In  the  modified  form, 
the  flap  or  curtain  next  the  objective  is  closed  at  pleasure 
by  a  latch  under  the  fingers  of  the  left  hand,  and  is  opened 
by  the  outcoming  slide. 

A  brass  spring,  shaped  like  an  archer's  bow,  faces  the 
wooden  base  of  the  stage  and  holds  the  framed  slide,  or 
slide  carrier,  when  glass  slides  are  used,  by  bearing  at  the 
sides  of  the  picture-opening.  The  glass  slide  carrier  is  held 
down,  and  firmly  in  place,  by  the  first  cut  in  the  stage  spring. 

Crystal  slides  are  in  place  in  this  carrier  when  flush  with 
the  condenser ;  French  slides  are  pushed  along  till  the  finger 
comes  to  the  junction  of  the  condenser  ring  and  the  bottom 
groove ;  English  square  slides  must  be  pushed  in  till  the 
forefinger  hits  the  wire  spring  that  holds  them. 

The  best  way  to  stop  a  framed  slide  exactly  in  the  right 
place,  without  interposing  any  obstacle  to  its  outgoing,  is 
to  take  it  an  inch  from  the  end,  with  the  thumb  nail  in  a 
cut  which  is,  or  should  be,  marked  in  each,  and  push  it 
horizontally  along  the  stage  till  the  thumb  strikes  the  con- 
denser ring. 

The  operator  (stationed  behind  the  instrument,  be  it  al- 
ways remembered)  may  pass  the  slides  through  from  right 
to  left,  panorama  style,  without  using  the  cut-off,  if  he 
chooses.  It  is  sometimes  necessary  to  leave  the  curtain 
closed  till  the  tinters  are  drawn  up,  as  for  effect  slides,  etc., 
which  can  be  done  by  not  crowding  the  outcomiug  slide 
forward. 


13 

To  Operate  the  New  Cut-off, 

Each  framed  slide  is  taken  upside  down,  with  the  right- 
hand  thumb  nail  at  the  mark,  half  an  inch  from  the  wire 
ring,  and  rested  in  readiness  on  the  end  of  the  stage,  while 
the  left  hand  is  placed  in  readiness  to  close  the  latch  with 
the  fingers  and  to  receive  the  outcoming  slide,  pressing  it 
forward  against  the  lever  which  opens  the  latch  the  instant 
the  right-hand  thumb  reaches  the  condenser  ring.  The 
change  may  be  effected  instantaneously,  but  to  prevent  see- 
ing any  glimpse  of  movement  on  the  screen  it  is  better  to 
time  the  starting  of,  first  the  left  hand,  then  the  right,  by 
counting  one,  two.  This  order  soon  becomes  habitual,  when 
the  counting  may  be  discontinued. 

Glass  slides  follow  each  other  in  the  same  way  through 
the  carrier,  only  each  outcoming  slide  opens  the  latch  at 
the  first  notch  in  the  spring. 

The  operation  is  not  quite  automatic,  like  the  original 
cut-off,  but  the  effect  is  quite  as  satisfactory.  It  allows  the 
operator  to  be  governed  by  circumstances,  it  is  not  liable  to 
get  out  of  gear,  and  it  is  applicable  to  both  oil  and  gas 
Sciopticons,  and  to  all  sorts  of  slides. 

The  Sciopticon  Lamp  and  Flame  Chamber 

Can  now  be  made  interchangeable  with  the  triple  jet  in  the 
Gas  Sciopticon,  with  cut-off  arranged  for  all  sorts  of  slides, 
all  for  $65.00.  Only  the  clamp  has  to  be  omitted  to  allow 
the  base  of  the  oil  cup  to  run  in  the  side  grooves,  the  same 
as  in  the  Oil  Sciopticon. 

This  arrangement  is  better  than  introducing  the  triple 
jet  into  the  Oil  Sciopticon,  as  described  in  the  Manual,  p. 
160  ;  but  it  is  not  better,  except  in  the  matter  of  bulk^than 
using  an  extra  body.  See  Catalogue,  p.  2,  No.  13. 

This  Lamp  arrangement  is  not  sold  without  a  lantern. 


14 
Modifications  in  the  Triple  Jet. 

A  platiua  tip  for  the  mixed  jet  is  now  made  interchange- 
able with  the  steel  nipple.  It  is  less  liable  to  become  rough- 
ened in  the  bore  by  oxidation,  and  less  liable  to  burn  should 
it  accidentally  come  in  contact  with  the  incandescent  lime. 
In  case  obstructions  carried  by  the  current  get  too  tightly 
lodged  in  the  narrow  passage  to  be  removed  in  the  hurry 
of  an  exhibition,  the  difficulty  may  be  quickly  overcome  by 
removing  the  tip  and  screwing  in  its  place  one  of  the  spare 
nipples  furnished  with  the  instrument.  This  peculiar 
nipple,  though  it  has  gone  out  of  use  as  a  gun  nipple,  is 
the  only  one  I  have  been  able  to  find  that  well  answers 
this  purpose. 

The  aperture  in  the  platina  tip  is  moderately  large,  as  is 
now  generally  approved.  When,  however,  the  strongest 
light  is  desired,  it  is  common  to  give  still  larger  vent  to  the 
mixed  gases,  with  great  pressure  to  counteract  the  increased 
tendency  to  ignite  inside  the  jet. 

For  the  alcohol  burner,  a  peculiar  limeholder,  which 
has  been  before  alluded  to,  may  be  used.  Price  $1.00  The 
ordinary  socket  is  removed,  and  the  tube  holding  this  lime 
holder  slips  down  over  the  wick  tube,  communicating  its 
heat  to  the  alcohol,  thus  favoring  its  vaporizing.  It  also 
tends  to  k°ep  the  flame  from  following  an  accidental  over- 
flow. For  the  alcohol  limelight  to  be  at  its  best,  a  full 
supply  of  good  alcohol  and  a  plenty  of  wick  is  required. 

Attached  to  each  liraeholder  is  a  brass  strip,  bent  in  the 
form  of  a  sugar  tongs,  to  facilitate  turning  the  lime. 

The  metallic  sheathing  over  the  base  of  the  jet  keeps  it 
from  becoming  defaced  by  the  heat,  or  by  handling. 

In  the  draw  under  the  draw-front  of  the  Sciopticon  is 
kept  the  wrench,  broach,  extra  nipples,  lead  washers,  etc. 


15 

Heal  Attachment. 

In  order  to  use  larger  condensers,  as  well  as  the  most 
approved  form  of  the  vertical  attachment,  the  brass  cells 
for  the  two  elements  of  the  larger  condenser  are  hinged 
together  and  held  in  place  by  a  pin.  The  back  cell  is  held 
to  the  shortened  Sciopticon  body  by  a  bayonet  joint. 

For  the  vertical  attachment  the  front  element  of  the 
condenser,  mounted  as  above,  opens  to  a  horizontal  posi- 
tion, and  is  held  in  place  to  a  tall  draw-front,  which  holds 
the,  objective  and  mirrors,  in  the  usual  form. 

The  price  of  the  Gas  Seiopticon,  with  the  5-inch  con- 
denser, mounted  as  above  described,  is  $65.00. 

The  price,  with  the  4Hnch  condenser,  etc.,  thus  mounted, 
is  $60.00. 

The  same,  with  the  vertical  attachment  added,  is  $70.00. 

These  condensers,  the  vertical  attachment,  and  the  achro- 
matic microscopic  attachment  are  only  used  with  the  lime 
light. 

Dissolving  Apparatus. 

The  Crescent-shaped  Dissolver  (see  Manual,  p.  40,  Fig. 
16  j  now  extends  five  narrow  fingers  each  way,  in  order  to 
more  thoroughly  blend  the  pictures  over  the  whole  disk, 
during  its  passage  from  side  to  side. 

The  rod  b  (Fig.  17),  instead  of  being  held  by  springs  out- 
side, between  the  lanterns  R.  L.  (Fig.  16),  now  passes  just 
under  this  surface,  through  holes  in  the  ends  of  the  case. 

Instead  of  the  arms  c  (Fig.  17),  the  end  is  now  bent  into 
a  crank,  which  is  limited  in  passing  from  side  to  side  by 
stops  in  the  case,  so  as  just  to  allow  the  dissolver  to  cover 
the  objectives  alternately.  When  pictures  from  both  Sciop-/ 
ticons  are  shown  upon  the  screen  at  the  same  time,  as  in 
the  Soldier's  Dream,  etc.,  the  crank  is  sprung  over  the  stop, 
so  as  to  point  upward,  while  the  dissolver  hangs  downward. 


16 


;.  riR. 


Base  boards  for  the  Sciopticons  R.  Ufmch  6  inches  wide, 
hinged  at  the  rear,  and  hooked  down  in  front  when  not  in 
use,  allow  their  range  to  be  elevated ,  as  a  prop  placed  under 
the  fore  part  is  drawn  back. 

These  various  improvements  in  the  Dissolving  Apparatus 
add  greatly  to  their  convenience  and  efficiency,  but  not  to 
the  price. 

The  gas  dissolving  cock,  as  before  said,  is  attached  by 
letting  its  wedge-shaped  plate  down  under  wide  screw-heads 
projecting  from  the  rear  end  of  the  case ;  there  is,  therefore, 
no  need  of  screw  holes  in  the  plate.  Let  it  be  remembered 
that  the  hydrogen  left  to  burn  in  the  lantern  not  in  use,  is 
increased  or  diminished  by  screwing  in  or  out  the  small 
screws  in  the  stops. 

Instead  of  the  legs,  shown  in  Fig.  16,  a  tripod  may  be 
attached  to  the  underside  of  the  case,  when  preferred,  for  the 
greater  convenience  of  transportation. 

A  curtain  enclosing  the  apparatus  and  operator  may  be 
suspended  from  cross  bars  supported  by  a  rod  passing  up 
through  the  case. 


THE  SCIOPTICON  ABKOAD. 

The  Oil  Sciopticon  has  been  extensively  introduced  into 
foreign  countries  (from  patterns  furnished  before  my  later 
improvements  made  their  appearance),  as  may  be  inferred 
from  the  frequent  allusions  to  it  in  foreign  journals.  In 
many  cases  it  has,  unfortunately,  been  modified  and  de- 
teriorated by  lessening  the  cost  of  construction,  and  by  con- 
forming it  to  fallacious  theories. 

It  may  not  be  out  of  place  to  insert,  in  this  connection, 


tWHt  ft 


17 


the  following  exmRt  from  a  communication  by  Walter 
B.  Woodbury  to  the  Manchester  Photographic  Society,  and 
published  in  the  British  Journal  of  Photography,  March  1, 
1878,  page  98,  under  the  heading  of — 

The  Modern  Magic  Lantern. 

This  instrument — still  best  known  by  its  old,  unscientific 
title — has,  I  think,  in  no  part  of  the  world  been  more  used 
and  experimented  upon  than  in  my  own  native  town  of 
Manchester,  and  therefore  I  consider  it  the  most  fit  place  to 
make  a  few  remarks  on  those  in  present  use.  In  order  that 
all  honor  be  given  to  the  person  to  whose  researches  we  owe 
our  present  compact  and  powerful  oil  lanterns,  I  wish  it  to 
be  more  widely  known  that  the  honor  belongs  to  Mr.  Marcy, 
of  Philadelphia,  who  spent  many  years  in  working  out  and 
completing  what  he  very  appropriately  named  the  Sciop- 
ticon. 

The  instrument  itself  requires  no  description  to  members 
of  this  Society,  as  I  believe  they  nearly  all  possess  one 
— its.  chief  features,  as  you  know,  being  a  narrow  double 
flame,  placed  edgeways  to  the  condenser,  and  its  very 
compact  body,  which  does  not  much  exceed  the  latter  in 
diameter. 

Now,  next  to  inventing  something  useful  myself,  there  is 
nothing  gives  me  more  pleasure  than  to  introduce  a  foreign 
invention  which  I  think  may  prove  of  use  to  my  fellow- 
countrymen;  therefore,  when  in  America  some  six  years 
ago,  and  seeing  the  advantages  of  Marcy 's  invention  over 
the  clumsy  ill-lit  things  we  were  using,  I  determined  to  in- 
troduce it  into  this  country  on  my  return,  and  arranged 
with  Mr.  Marcy  accordingly. 

As  I  expected,  the  instrument  became  a  great  favorite 
with  the  scientific  public,  and  no  greater  proof  of  its  value 


18 

could  be  shown  than  in  the  number  of  imitations  that  have 
sprung  up,  more  or  less  copied  from  it. 

One  departure  from  the  Marcy  form  of  wick  is  found  in 
these,  viz.,  that  of  dividing  it  at  oue  end,  which  I  think  to 
be  a  mistake,  as  it  nullifies  the  chief  feature  in  the  Sciopti- 
con,  and  is  really  bringing  us  partly  back  to  the  old  circular 
or  broad  wick,  besides  other  disadvantages.  On  my  return 
from  America  I  tried  a  variety  of  forms  of  wicks  as  well  as 
the  triple,  but  came  to  the  conclusion  that  no  improvement 
was  effected. 

There  are  also  new  forms  of  lanterns  in  the  market,  but 
on  examination  they  will  all  be  found  to  have  some  parts 
copied  from  Marcy 's  Sciopticon. 

At  a  late  conversatione  of  the  Philosophical  and  Literary 
Society  of  Leeds,  England,  a  distinguished  lecturer  opened 
as  follows : — 

MR.  PRESIDENT,  LADIES  AND  GENTLEMEN:  —  I  have 
the  pleasure,  this  evening,  to  introduce  to  your  notice  the 
most  charming  and  effective  piece  of  educational  apparatus 
it  was  ever  my  good  fortune  to  possess.  *  *  *  The 
appropriate  name  of  Sciopticon  has  happily  been  given  to 
this  latest  and  best  form  of  lantern,  and  in  it  I  recognize 
alike  emancipation  from  all  its  ungainly,  troublesome  pre- 
decessors, and  a  suitable  designation  by  which  to  class  it 
with  our  most  useful  scientific  instruments.  To  point  out 
and  explain  all  the  excellencies  of  this  charming  little 
instrument  would  require  a  special  lecture.  At  present, 
suffice  it  to  say,  it  is  packed  in  a  neat,  small  case,  which 
can  be  easily  carried  in  the  hand.  It  can  be  taken  out  and 
set  up  in  action  in  less  than  five  minutes,  and,  when  the 
lecture  is  over,  can  as  soon  be  packed  up. 


The  weight  of  the  Sciopticon  and  case,  with  an  average 
number  of  slides,  all  in  a  strong  packing  box,  is  about  40 
pounds. 

Expressage  varies  with  weight,  distance,  railroad  rules, 
routes,  etc.,  so  that  companies  are  unwilling  to  furnish  the 
public  with  their  tables  of  rates,  lest  their  agents  should 
become  embarrassed  by  possible  variations.  It  may,  how- 
ever, afford  a  convenient  clue  to  state,  as  a  specimen,  that 
the  ordinary  expressage  on  50  pounds  from  Philadelphia 
to  New  York  city  is  50  cents  ;  to  Baltimore,  50  cents ;  to 
Washington,  75  cents;  to  Boston,  $1.05;  to  Pittsburg, 
$1.05  ;  to  Wheeling,  $1.65  ;  to  Cleveland,  $1.65  ;  to  Chi- 
cago, $2.10 ;  to  Raleigh,  $2.50  ;  to  Charleston,  $2.75  ;  to 
St.  Louis,  $2.75  ;  to  Memphis,  $3.00;  to  Savannah,  $3.75; 
to  New  Orleans,  $4.00  ;  to  Galveston,  $5.00 ;  to  Omaha, 
$3.65  ;  to  San  Francisco,  $11.50. 

Freight  charges  are  considerably  less,  but  goods  are  con- 
sidered more  fully  insured,  when  in  charge  of  express 
agents. 

Our  prices  and  arrangements  are  made  with  special 
reference  to  having  our  goods  not  "  handled  by  middle 
men,"  but  to  their  being  delivered,  without  overhauling, 
directly  to  the  parties  who  buy  and  use  them.  Local 
dealers,  purchasing  only  when  an  article  is  called  for,  are 
tempted  to  favor  old  styles,  or  bungling  imitations  of  ours, 
for  their  "  larger  margin,"  or,  if  the  Sciopticon  is  specially 
ordered,  then  to  saddle  it  with  inferior  slides,  to  the  no 
small  damage  of  its  reputation.  It  is  easier  and  safer  to 
send  goods  and  accompanying  explanations  directly  to  thfe 
party  principally  interested.  Particulars  and  answers  to 
special  inquiries  can  be  communicated  more  conveniently, 
and  with  better  grace,  in  an  unbroken  line. 

For  the  general  catalogue  notice,  see  second  page. 


64 


INDEX. 


Apparatus, 3 

American  History, 20 

American  Views 50 

Anatomy  and  Physiology, 45 

Anatomy,  Microscopic 45 

Astronomical  Views 42 

Arachnida,  Crustacea,  etc 39 

Adventures  of  Reynard.the  Sly 

Fox, 25 

Birds, 38 

Botanical  Illustrations, 40 

Bottle,  The 23 

Christiana  and  her  Children,...  22 

Chromatropes, 30 

Colored  Photographs  in  Series,  36 

Crusaders 25 

Crystallography 47 

Dioramio  Paintings 35 

Dissolving  Views, 28 

Dissolving  Chromatropes 31 

Effect  Slides 61 

Egypt,  Views  in, 11 

Fables 25 

Flowers  and  Plants, 41 

Foreign  Slides 57 

Franco-Prussian  War, 21 

Geology 44 

Greece  and  Rome, 11 

Holy  Bible,  Complete  Illustra- 
tion of, 12 

Holy  Land 9 

Hymns 52 

Ill-fated  Ship 25 

Insects, 39 


Insect  Metamorphosis, 39 

Lantern  Readings 61 

Leaf  Designs, 32 

Lever  Slides  (Comic) 34 

Life  of  a  Country  Boy 24 

Lord's  Prayer,  The 24 

Masonic  and  other  Lodges, 24 

Mammalia 37 

Microscope  and  its  Revelations,  46 

Miscellaneous  Pictures 26 

Natural  Phenomena, 45 

New  Testament  Illustrations,..  8 

Nursery  Tales,  35 

Old  Testament  Illustrations,...  7 

Optics, 46 

Physical  Geography, 42 

Paintings  with  Revolving  Mo- 
tion   31 

Pilgrim's  Progress, 22 

Reptiles  and  Fishes 38 

Scientific  Department, 37 

Schiller's  Song  of  the  Bell 25 

Shakspeare's  Seven  Ages  of  Man  24 

Slip  Slides  (Comic), 33 

Spectrum  Analysis 47 

Statuary,  32,49 

Stomach  of  a  Drunkard, 23 

Tarn  O'Shanter, 24 

Tale  of  a  Tub, 24 

Ten  Commandments,  The, 23 

Views  of  Interest  in  Different 

Parts  of  the  World, 17 

Views  in  Sets.oonveying  Moral 

Lessons  .........  ........  ......•••  22 


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